UC-NRLF
mmnf --
B 3 TEi 3Qc^
ENRY Blackburn.
4HIIUU
L1RRA.RV
University of California.
( ;i Ki- OK
Received . iqa .
Accession No. ^(^'^y^V-^ . Class No.
/
THE ART OF ILLUSTRATION.
XB'
UHIVERSITT
CALlFOS
" Nir TKlMll.] IK." (SII; JOHN CILIIERT, K.A.)
(Ora-,v; hi ,Wn ami ink, from hh /•kliirc in llu- Royal Academy, i83j.)
[Size ofdr.-uving. 5J by a^\ in. Plioto-zinc process.]
The Art of
Illvistration,
HENRY BLACKBURN,
Editor of " Academy A'otes,^' Can/or Lecturer on Il/iisf ration, {^c.
N I N ET Y- F I V E I LL U ST R AT I O N S.
SECOND EDITION.
W. H. ALLEN & CO., Limited,
13, WATERLOO PLACE, S.W.
1896.
^ c^^
TRINTED 1!Y
\V Y.MAN AMI SON'S, LIMITED,
LONDON, W.C.
DEDICATKI.) TO
SIR JOHN GILBERT, R.A.
ONE OF THE PRlN'CTPAr. PIONEERS
OF POOK AND NEWSPAPEi; I [, I. UST K AI 1 () N .
S ;>()!. 5
DKAWING FKOM HIS PICTLKE, I;Y M
[Photo-zinc process ]
PREFACE.
HE object of this book is to explain the
modern systems of Book and News-
[)a[)er IHustration, and especially the
methods of drawing for what is com-
monly called "process," on which so many artists
are now engaged.
There is almost a revolution in illustration at the
present time, and both old antl young — teachers and
scholars — arc in want of a handbook for reference
when turning to the new methods. The illustrator
of to-day is called upon suddenly to take the [jiacc;
of the wood engraver in interpreting tone into line,
X PREFACE.
and requires practical information which this book
is intended to supply.
The most important branch of illustration treated
of is line draxcing, as it is practically out of reach of
competition b_\- the photographer, and is, moreo\-er,
the kind of drawing' most easily reproduced and
printed at the typ(t press ; but wash drawing,
drawing upon grained papers, and the modern
appliances for re|)roduction, are all treated of
The; best instructors in drawing ior process are,
after all, the painters of pictiires who know so well
how to express themselves in black and white, and to
whom 1 owe many obligations. There is a wide
distinction between their treatment of "illustration"
and the so-called "pen-and-ink" artist.
The "genius" who strikes out a wonderful path
ot his own, whose scratches and splashes appear
in so many books and newspapers, is of the
"butterlly" order of being -a creation, so to speak,
of the processes, and is not to be emulated or
imitated. There is no reason but custom why, in
drawing for process, a man's coat should be made
to look like straw, or the background (if there be
a background) have the appearance of fireworks.
No ability on the part of the illustrator will make
these thinys tolerable in the near future. There is
PREFACE. xi
a reaction already, and signs of a bclicr and more
sober treatment ot ilhistr:ui(in, which onl)- recjuires
a better understaudiiig of the reijuireiuculs and
Ihnitatmis of the proeesses, to make it equal to
some of the best work of the past.
The modern illustrator has much to learn — more
than he imagines — in drawing for the processes.
A study of examples by masters of line drawing —
such as Holbein, INIenzell, Fortuny or Sandys — or
of the best work of the etchers, will not tell the
student of to-day exactl)' what he reejtiires to know;
for the)- are nearly all misleading as to the principles
upon which modern process work is based.
In painting we learn everything from the past —
everything that it is l)est to know. In engraving
also, we learn from tlie past the best wa)- to
interpret colour into line, but ii: drawing for the
processes there is practically no "past " to refer to ;
at the .same time the advance of the photographer
into the domain of illustration renders it oi \ ital
importance to artists to put forth their best work in
black and white, and it throws great responsibility
upon art teachers to give a good groundwork of
education to tlie illustrator of the future. In all
this, education- -geiiei'di ediiiiition will take a wider
part.
xii PREFACE.
The Illustrations have been selected to show
the possibiHties of "process" work in educated,
capable hands, ratlier than any toitrs dc force
in drawing, or exploits of genius. They are all of
modern work, and are printed on the same sheets
as the letterpress.
All the Illustrations in this book have been
reproduced by mechanical processes, excepting nine
(marked on the list), which are engraved on wood.
Acknowledgments are due to the Council of the
Society of Arts for permission to reprint a portion
of the Cantor Lectures on " Illustration" from their
Journal ; to the Editors of the A'ational Review
and the Nineteenth Century, fur permission to
reprint several pages from articles in those reviews ;
to the Editors and Publishers who have lent
illustrations; and above all, to the artists whose
works adorn these pages.
H. B.
123, Victoria .Street, Westminster.
.Vr;i', I 894.
CONTENTS.
CHAPTER I.— Introductorv i
CHAPrER II. — Elementary Illusikviion . . 15
Diagrams — Daily Illustrated Newspapers- i'lctorial
:: Verbal Description.
CHAl'Tl'^R III. — Artistic Ii,i.ustr.\tions ... 40
Education of the Illustrator — Line Drawing lor
Process — Sketching fruin Life — Examples of Line
Drawing.
CHAPTER IV.— Thk Processes . . . . 102
" Photo zinco " — Gelatine Process — Grained Papers
— Mechanical Dots — " Half-tone " Process — Wash
Drawing — Illustrations from Photographs-- 5(v/c//,
Grapliii\ &c. — Daniel Vierge.
CHAPTER v.— Wood E.sgr.wing .... 182
CHAPTER VL—TuE DiuoK.vnvE P.uie . 197
CHAP I'ER VII. --Author, Ii.i.u.str.vior, cS: Puui.isher 2 1 1
Students' Drawings 223
Appendix 233
LIST OF ILLUSTRATIONS.
[T/ii copyyi^ht of all pictures skeUhed in this book is s'.viclly ycsei-vea.'\
"The Trumpeter.'' Sir John Gilbert, R.A
Swans. Charles Collins
"Ashes of Roses." G. H. Boughton, A.R
" Badminton in the Studio." R. W. Macbeth, A.R
"A Son of Pan." William Padgett .
" Home by the P'crry.'' Edward Stott
Man in Chain Armour. Lancelot Speed
"Greeting." The Hon. iNIrs. Boyle .
Diagrams (5) .
View above Blankcnbuig ...
The Curvature of the World's Surface
Tiresome Dog. " E. K. Johnson
Frustrated." Walter Hunt
On the Riviera." Ellen Montalba .
Landscape with Trees." ]\L R. Corbet
An Odd Volume." H. S. Marks, R.A.
A Select Committee." H. S. Marks, R
The Rose Queen." G. D. Leslie, R.A.
Finding of the Infant St. George." C. Vi. Gere
A Ploughboy." G. Clausen .
Blowing Bubbles." C. E. Wilson .
Cathedral, from 0\ Body Lane." H. Railtun
By Unfrequented Ways.'' ^V. H. Gore
Adversity." Fred. Hall .
A Willowy Stream." Maud Naftel .
Twins." Stanley Berkeley
{Process) \\
'4
15
,. 19-32
( ll'ood) ^i
30
43
44
46
47
49
( Process')
56
59.^1
65
69
7o> 71
73> 75
76
79
ILLUSTRATIOSS.
"The Dark Island." Alfred East . . . {Pn
"A Portrait." T. C. Gotch . . . . ,
Sir John Tenniel. Edwin Ward . . . ,
The Rt. Hon. John Morley. Edwin Ward
"Nothing venture, nothing have." E. P. Sanguinctti
'■ On the Terrace." E. A. Rowe . . . .
"For the Squire." Sir John Millais, Bart., R..\.
"The Stopped Key." H. S. Marks, R.A.
Nymph and Cupid. Henry Holiday
Illustration to ''The Blue Poetry Book." L. Speed
A Portrait. T. Blake Wirgman. . . . .
" Forget Me Not." Henry Ryland . . . .
" Baby's Own." G. Hillyard Swinstead
"A Silent Pool." E. W. Waite . . . .
"The Miller's Daughter." E. K. Johnson
"The End of the Chapter." W. Rainey .
" In the Pas de Calais." J. P. Beadle
"Clolden Days." F. Stuart Richardson
"Twilight." Hume Nisbet . . . . ,
" Le Dent du Geant." E. 'i'. Compion . . ,
Landscape. A. M. Lindstroni .... ,
Volendam. C. J. Watson .....
"Old Woman and Grandchild." Hugh Cameron ,
"An Arrest." Melton Prior .... ,
"Sunrise in the Severn Valley." M. R. Corbet
"The Adjutant's Love Story." H. R. Millar . ,
Illustrations from " T/ie Blue Poetry Book.'' L. Speed
"Seine Boats." Louis Grier . . . . .
" There is the Priory." W. H. Wolien
From '■'■ Andersen s Fairy Tales." J. R. Weguclni
"Two's company, three's none." II. J. Walker .
l\\vi%Ua.\.\on Uom" Black and IVliite." C. G. Manton
" A Sunny Land." George Wetherbee
Decorative Design. The late Randolph Caldecott
Sketch in wash (part of picture) from "Sketek".
"The Brook." .\rnold Helcke . . . . .
■ess) 80
S3
87
90
9-. 93
94
97
i°3
•°5
107
to8
116,1
19
'34,
141,
[27
129
'3'
5-7
S
139
•43
'47
'49
157
ILL US TRA TIONS.
From a Photograph from Life. By Mr. H. S.
Mendelssohn {'^Sketch") . . {Proicss) i6i
From a Photograph from Life. By Messrs.
Cameron & Smith ("Studio") . . „ 165
From a Photograph from Life {'■^Graphic") . {Wood) 169
"Proud Maisie." Lancelot Speed . . . (Process) 173
Yrom '^ PaUo de Segovia." Daniel Vierge . . „ 177
Drinking Horn from ".£'w^;'/^/;/^j'M." L. Speed „ 181
Heading from '■'■Grimm s Household Stories." W. Crane ( Wood) 1S2
Photograph from Life. "'The Century Magazine" ,, 1S7
"Driving Home the Pigs." John Pedder . (/'fceess) 193
Joan of Arc's House at Rouen. Samuel Prout. (Wood) 195
¥{edid\nghom"Grimm''s Household Sto>-ics." W.Crane ,, 197
Decorative Page. A. J. Gaskin . . . (Process) 199
Decorative Page from "Ty/iT &'.v &<:'(7//.f." W.Crane (Hood) 201
Title Page of '•' The Hobby Horse." Selwyn Image ,, 205
Viking Ship from " Z';vV j5;'4'-/;/ ^_)'«." L. Speed (Process) 208
" Scarlet Poppies." W. J. Muckley ... „ 209
"Take Care." W. B. Baird .
Spanish Woman. Ina Bidder .
Children Reading. Estelle d'Avigdor . . ,, 227
Sketch from Life. G. C. JiLirks . . . ., 229
Bou"h of Common Furze. William French
CHAPTER I.
INTRODUCTORY.
jHERE are, broadly speaking, two kinds
of engraving for illustration in books,
which are widely distinct — i, intaglio;
2, relievo. The first comprises all
engravings, etchings, and photogravures in which
the lines are cut or indented by acid or other means,
into a steel or copper plate — a system em[)loyed,
with many variations of method, from the time of
IMantegna, Albert Diirer, Holbein and Rembrandt,
to the French and English etchers of the present
day. Engravings thus produced are little used in
modern book illustration, as they cannot be printed
easily on the .same page; as the letterpress ; these
planches a part, as the French term them, are costly
to print and are suitable only for limited editions.
In the second, or ordinary form of illustration,
the linrs or [licturcs to lie jirinted arc left in relief;
THE ART OF ILLUSTRATION.
the design being generally made on wood with a
pencil, and the parts not drawn upon cut away.
This was the rudimentary and almost universal
form of book-illustration, as practised in the fifteenth
century, as revived in England by Bewick in
the eighteenth, and continued to the present day.
The blocks thus prepared can be printed rapidly
on ordinary printing-presses, and on the same page
as flic text.
During the past few years so many processes
have been put forward for producing drawings in
relief, for printing witli the type, that it has become
a business in itself to test and understand them.
The best known process is still wood engraving, at
least it is the best for the fac-simile reproduction
of drawings, as at present understood in England,
whether they be drawn direct upon the wood or
transmitted by photography. There is no process
in relief which has the same certainty, which gives
the same colour and brightness, and by which
gradation of tone can be more truly rendered.
As to the relative value of the different photo-
graphic relief processes, that can only be decided by
experts. Speaking generally, I may say that there
are six or seven now in use, each of which is, I am
informed, the best, and all of which are adapted
INTRODUCTORY.
for printing in the same manner as a wood-block.*
Improvements in these processes are being made
so rapidly that what was best yesterday will not be
the best to-morrow, and it is a subject which is
still little understood.
In the present book it is proposed to speak
principally of the more popular form of illustration
(relievo) ; but the changes which are taking place
in all forms of engraving and illustration render it
necessary to say a few words first upon intaglio.
We have heard much of the "painter-etchers,"
and of the claims of the etchers to recognition as
original artists ; and at the annual exhibition of the
Society of Painter-Etchers in London, we have seen
examples in which the effects produced in black
and white seemed more allied to the painter's art
than to the engraver's. But we are considering
engraving as a means of interpreting the work of
others, rather than as an original art.
The influence of photography is felt in nearly
every department of illustration. The new photo-
mechanical methods of engraving, riv'//^^;/// the aid of
* All the illustrations in this book are produced by mechanical
processes excepting those marked in the List of Illustrations ;
and all are printed simultaneously with the letterpress. For
description of processes, see Appendix.
( 4 )
No. II.
''Ashes of Roses^' by G. H. Boughton, A.R.A.
This careful drawing, from the painting by Mr.
Boughton, in the Royal Academy, reproduced by the
Dawson process, is interesting for variety of treat-
ment and indication of textures in pen and ink. It
is like the picture, but it has also the individuality of
the draughtsman, as in line engraving.
Size of drawing about b\ x 3^ in.
No. II.
A.DMINTON IN THE STIDM.' (fKOM THE PAINTrNC
{Royal Academy. 1891.)
DV K. \V. MACI!
A.K..^.)
INTRODUCTORY.
tlw engraver, have rendered drawing for fac-simile
reproduction of more importance than ever; and
the wonderful invention called photogravure, in
which an engraving is made direct from an oil
painting, is almost superseding handwork.*
The art of line-engraving is disappearing in
England, giving way to the " painter-etchers," the
"dry-point" etchers and the "mezzotint engravers,"
and, finally, to phoiogravure, a method of engraving
which is so extraordinary, and so little understood
(although it has been in constant use for more than
ten years), that it may be worth while to explain, in
a few words, the method as practised by Messrs.
Boussod, Valadon & Co., successors to Goupil, of
Paris.
In the Royal Academy Exhibition of 1SS2, Sir
Frederick Leighton's picture called " Wedded " will
be remembered by many visitors. This picture was
purchased for Australia, and had to be sent from
England within a few weeks of the closing of
the exhibition. There was no time to make an
* One of the last and best examples of pure line-engraving
was by M. Joubert, from a painting by E. J. Poynter, R.A., called
" Atalanta's Race," exhibited in the Royal Academy, 1876. The
engraving of this picture was nearly three years in M. Joubert's
hands — a tardy process in these days.
THE ART OF ILLUSTRATION.
engraving, or even an etching satisfactorily, and so
the picture was sent to Messrs. Goupil, who in a
few weel<s produced \}i\^ photogravure, as it is called,
which we see in the printsellers' windows to this
day. The operation is roughly as follows : — First,
a photograph is taken direct from the picture ; then
a carbon print is taken from the negative upon
glass, which rests upon the surface in delicate relief
From this print a cast is taken in reverse in copper,
by placing the glass in a galvanic bath, the deposit
of copper upon the glass taking the impression of the
picture as certainly as snow takes the jjattern of the
ground upon which it falls. Thus — omitting details,
and certain " secrets " of the process — it may be
seen how modern science has superseded much of
the engraver's work, and how a mechanical process
can produce in a few days that which formerly
took years.
What the permanent art - estimate of " photo-
engraving" may be, as a substitute for handwork,
is a question for the collectors of engravings and
etchings. In the meantime, it is well that the
public should know what a photogravure is, as dis-
tinct from an engraving. The system of mechani-
cal engraving, in the reproduction of pictures, is
spreading rapidly over the world ; but it should be
/XTRODCCTORV. 9
observed that these reproductions are not uniformlv
successful. One pahiter's niethutl of handhnjj;- lends
itself more readily than that of antJther to mechanical
engraving. Thus the work of the President of llu-
Royal Academy would reproduce better than that
of Mr. G. F. Watts or Mr. Orchartlson. That the
actual marks of the brush, the very texture of the
painting, can be transferred to copper and steel, and
multiplied ad infuiititiii by this beautiful [process, is
a fact to which many English artists are keenly
alive. The process has its limits, of course, and
photogravure has at present to be assisted to a
considerable extent by the engraver. But enough
has been done in the last tew years to i)rove that
photography will henceforth take up the painter's
handiwork as he leaves ii, and thus the importance
of thoroughness and completeness on the part of
the painter has to be more than ever insisted upon
by the publishers of '' engravings."
A word may be useful here to explain that the
coloured " photogravures," reproducing the washes
of colour in a painting or w;iter-colour drawing, of
which we see so many in Paris, are not coloured by
hand in the ordinary way, but are produced com-
plete, at one impression, from the [)rinting-press.
The colours are laid upon the plate, one by one, by
( 10 )
No. III.
".4 Son of Pan" by William Padgett.
Example of outline drawing, put in solidly with a
brush. If this had been done with pencil or auto-
graphic chalk, much of the feeling and expression
of the original would have been lost. The drawing
has suffered slightly in reproduction, where (as in
the shadows on the neck and hands) the lines were
pale in the original.
Size of drawing 1 1^ x 6^ in. Zinc process.
No. HI.
IXTKOfWCTORV. 13
the printer, by a system of stencilling ; and thus an
almost perfect fac-similc of a picture can be re-
produced in pure colour, if the original is simple
and broad in treatment.
One other point of interest and importance to
collectors of engravings and etchings should be
mentioned. Within the last few years, an inven-
tion for coating the surface of engraved plates with
a film of ste(;l (which can b(; renewed as often as
necessary) renders the surface practically inde-
structible; and it is now possible to print a thousand
impressions from a copper plate without injur)- or
loss of quality. These modern inventions are no
secrets, they have been described repeatedly in
technical journals and in lectures, notably in those
delivered during the past few years at the Society of
Arts, and published in the Journal. But the
majority of the public, and even many collectors of
prints and etchings, are ignorant of the number of
copies which can now be taken without deteriora-
tion from one plate.
It is necessary to the; art amateur that he should
know something of these things, if only to explain
why it is that scratching on a copper plate has
come so much into vogue in England lately, and
why there has been such a remarkable revival of
THE ART OF ILLUSTRATION.
the art of Dtirer at the end of this century. The
reason for the movement will be better understood
when it is explained that by the process just referred
to, of "steeling" the surface of plates, the "burr," as it
is called, and the most delicate lines of the engraver
are preserved intact for a much larger number of
impressions than formerly. The taste for etchings
and the higher forms of the reproductive arts is still
spreading rapidly, but the fact remains that etch-
ings and chiitions dc luxe do not reach one person in
a thousand in any civilised community. It is only
by means of wood engra\'ings, and the cheaper and
simpler forms of process illustration, that the public
is appealed to pictorially through the press.
GREETING." (bV THE HON. MKS. liOVLE.)
CHAPTER II.
ELEMENTARY ILLUSTRATION.
H E first object of an illustration, the
practical part, is obviously, to illustrate
and^lttcidate the text — a matter often
lost sight of The second is to be
artistic, and includes works of the imagination,
decoration, ornament, style. In this chapter we
shall consider the first, the practical part.
Nearly twenty years ago, at a meeting of the
Society of Arts in London, the general question
was discussed, whether in the matter of illustrating
books and newspapers we are really keeping pace
t6 THE ART OF 1 LLUSI RATiOX.
with the times ; whether those whose business it
is to provide the illustrations which are tossed
from steam presses at the rate of several thousand
copies an hour, are doing the best work they can.
In illustrated newspapers, it was argued, "there
should be a clearer distinction between fact and
fiction, between news and pictures." The exact
words may be thought worth repeating now.*
" In the production of illustrations we have arrived at great
jjroficiency, and from London are issued the best illustrated
newspapers in the world. But our artistic skill has led us into
temptation, and by degrees engendered a habit of making
pictures when we ought to be recording facts. We have thus,
through our cleverness, created a fashion and a demand from the
public for something which is often elaborately untrue.
Would it, then, be too much to ask those who cater for (and
really create) the public taste, that they should give us one of two
things, or rather /fee things^ in our illustrated papers, the real
and the ideal — •
ist. Pictorial records of events in the simplest and truest
manner possible ;
2nd. Pictures of the highest class that can be printed in a
new^spaper ?
Here are two methods of illustration which only require to be
kept distinct, each in its proper place, and our interest in them
would be doubled. We ask first for a record of news and then
for a picture gallery ; and to kiiow, to use a common phrase,
which is 2vhich."
* The quotations are from a paper by the present writer, read
before the Society of .\rts in March, 1S75.
ELEMENTARY ILLUSTRATION.
At the time referred to, drawing on the wood-
block and engraving were almost universal —
instantaneous photography was in its infancy,
"process blocks," that is to say, mechanical
engraving, was very seldom employed, and (for
popular purposes) American engraving and printing
was considered the best.
The system of producing illustrations in direct fac-
simile of an artist's drawing, suitable for printing at
a type press without the aid of the wood engraver,
is ot such value for cheap and simple forms of
illustration, and is, moreover, in such constant use,
that it seems wonderful at first sight that it should
not be better understood in England. But the
cause is not far to seek. We have not yet acquired
the art of pictorial expression in black and white,
nor do many of our artists excel in " illustration " in
the true sense of the word.
U has often been pointed out that thruLigh the
pictorial system the mind receives impressions with
the least effort and in the quickest way, and that
the graphic method is the true way of imparting
knowledge. Are we then, in the matter of giving
information or in imparting knowledge through the
medium of illustrations, adopting the truest and
simplest methods ? I venture to say that in the
THE ART OF ILLUSTRATION.
majority of cases we are doing nothing of the kind.
We have pictures in abundance which delight the
eye, which are artistically drawn and skilfully
engraved, but in which, in nine cases out of ten,
there is more thought given to effect as a picture
than to illustrating the text.
It has often been suggested that the art of
printing is, after all, but a questionable blessing on
account of the error and the evil disseminated by
it. Without going into that question, I think that
we may find that the art of printing with movable
type has led to some neglect of the art of expressing
ourselves pictorially, and that the apparently in-
exorable necessity of running every word and
thought into uniform lines, has cramped and limited
our powers of expression, and of communicating
ideas to each other.
Let us begin at the lowest step of the artistic
ladder, and consider some forms of illustration which
are within the reach of nearly every writer for
the press. With the means now at command for
reproducing any lines drawn or written, in perfect
fac-simile, mounted on square blocks to range with
the type, and giving little or no trouble to the
printer, there is no question that we should more
frequently see the hand work of the writer as well
ELEMENTARY ILL USTRA TION.
as of the artist appearing on the paL;^. For
example : it happens sometimes in a work of fictit)n,
or in tile record of some accident or event, that it
is important to the clear understanding of the text,
to know the exact position of a house, say at a
street corner, and also (as in the case of a late trial
for arson) which way the wind blew on a particular
evening. Words are powerless to explain the
position beyond the possibility of doubt or mis-
construction ; and yet words are, and have been,
used for such purposes for hundreds of years,
because it is " the custom."
But if it were made plain that where words fail
to express a meaning easily, a few lines, such as
those above, drawn in ink on ordinary paper, may
be substituted (and, if sent to the printer with the
manuscript, will appear in fac-simile on the proof
with the printed page), I think a new light may
dawn on many minds, and new melhods of expres-
sion come into vogue. ~
THE ART OF ILLUSTRATION.
This illustration (which was written on the sheet
of MS.) is one example, out of a hundred that might
be given, where a diagram should come to the aid
of the verbal description, now that the reproduction
of lines for the press is no longer costly, and the
blocks can be printed, if necessary, on rapidly
revolving cylinders, which (by duplicating) can
produce in a night 100,000 copies of a news-
paper.
Before exploring some of the possibilities of
illustration, it may be interesting to glance at what
has been done in this direction since the invention
of producing blocks rapidly to print at the type
press and the improvements in machinery.
In the spring of 1873 a Canadian company
started a daily illustrated evening newspaper in
New York, called The Daily Graphic, which was
to eclipse all previous publications by the rapidity
and excellence of its illustrations. It started with
an attempt to give a daily record of news, and its
conductors made every effort to bring about a
system of rapid sketching and drawing in line.
But the public of New York in 1873 (as of
London, apparently, in 1893) cared more for
" pictures," and so by degrees the paper degenerated
into a picture-sheet, reproducing (without leave)
ELEMENTAR Y ILL US TRA TION. 2 1
engravings from the Illustrated London, Ncivs, the
Graphic, and other papers, as they arrived from
England. The paper was Hthographed, and survived
until 1889.
The report of the first year's working of the
first daily illustrated newspaper in the world is
worth recording. The proprit^tors stated that
although the paper was started "in a year of great
financial depression, they have abundant reason to
be satisfied with their success," and further, that
they attribute it to "an absence of all sensational
news."(!)
The report ended with the following intcrestino-
paragraph :
" Pictorial records of crime, executions, scenes involving
misery, and the more unwholesome phases of social life, are a
positive detriment to a daily illustrated newspaper. In fact, the
higher the tone and the better the taste appealed to, the larger
we have found our circulation to be."
The great art, it would seem, of conductino- a
daily illustrated newspaper is to know xvhat to leave
out — when, in fact, to have no illustrations at
all!
In England the first systematic attempt at illus-
tration in a daily newspaper was the insertion of a
litde map or weather chart in the Tivics in 1875,
THE ART OF ILLUSTRATION.
and the Pall Mall Gazelle followed suit with a dial
showing the direction of the wind, and afterwards
with other explanatory diagrams and sketches.
But, in June, 1875, the Times and all other news-
papers in England were far distanced by the Ncio
York Tribune in reporting the result of a shooting
match in Dublin between an American Rifle Corps
and some of our volunteers. On the morning after
the contest there were long verbal reports in the
English papers, describing the shooting and the
results ; but in the pages of the New York Tribuiic
there appeared a series of targets with the shots
of the successful competitors marked upon them,
communicated by telegraph and printed in the
paper in America on the following morning.*
After this period we seem to have moved
slowly, only some very important geographical
discovery, or event, e.xtorting from the daily news-
papers an explanatory plan or diagram. But during
the "Transit of Venus," on the 6th of December,
1882, a gleam of light was vouchsafed to the
readers of the Daily Telegraph (and possibly to
other papers), and that exciting astronomical event
from which " mankind was to obtain a clearer
* This system of reporting rifle contests is now almost
universal in England.
ELEMENTARY ILLUSTRATION. 23
knowledge of the scale of the universe," was
understood and remembered better, by three or four
lines in the form of a diagram (showing, roughly,
the track of Venus and its comparative size and
distance from the sun) printed in the newspaper on
the day of the event.
Maps and plans have appeared from time to time
in all the daily newspapers, but not systematically,
or their interest and usefulness would have been
much greater. IMany instances might be given of
the use of diagrams in newspapers ; a little dial
showing the direction of the wind, is obviously
better than words and figures, but it is only lately
that printing difficulties have been overcome, and
that the system can be widely extended.
It remains to be seen how far the Daily Graphic,
with experience and capital at command, will aid in
a system of illustration which is one day to become
general. Thus far it would seem that the production
of a large number of pictures (more or less a-propos)
is the popular thing to do. We may be excused if
we are disappointed in the result from a practical
point of view ; for as the functions of a daily
newspaper txxq. prima, facie to record facts, it follows
that if words fail to communicate the right meaning,
pictorial expression should come to the aid of the
24 THE ART OF ILLUSTRATION.
verbal, no matter how crude or inartistic the result
might appear.
Let me give one or two examples, out of many
which come to mind.
I. The transmission of form by telegraph. To
realise the importance of this system in conveying
news, we have only to consider (going back nearly
forty years) what interest would have been added
to Dr. Russell's letters from the Crimea in the
Times newspaper, if it had been considered possible,
then, to have inserted, here and there, with the
type, a line or two pictorially giving {e.g.) the out-
line of a hillside, and the position of troops ujaon
it. It icas possible to do this in 1855, but it is
much more feasible now. The transmission of form
by telegraph is of the utmost importance to jour-
nalists and scientific men, and, as our electricians
have not yet determined the best methods, it may
be interesting to point out the simplest and most
rudimentary means at hand. The method is well
known in the army and is used for field purposes,
but hitherto newspapers have been strangely slow
to avail themselves of it. The diagram on the
opposite page will explain a system which is capable
of much development with and without the aid
of photography
ELEMENTARY ILLUSTRATION. 25
If the reader will imagine this series of squares
to represent a portable piece of open trellis-work,
which might be set up at a window or in the open
field, between the spectator and any object of
interest at a distance — each square representing a
number corresponding with a cock; in universal use
— it will be obvious, that by noticing the squares
which the outline of a hill would cover, and telc-
p-aphing the nJimbcis of the squares, something in
the way of form and outline may be quickly com-
municated from the other side of the world.
CODE FOR TRANSMITTING FORM BY TELEGRAPH.
This is for rough-and-ready use in time of war,
when rapidity of communication is of the first
importance ; but in time of peace a correspondent's
letter continually requires elucidation.
26 THE ART OF ILLUSTRATION.
Next is an example, which, for want of better
words, I will call ''the shorthand of pictorial art."
A newspaper correspondent is in a boat on one
of the Italian lakes, and wishes to describe the
scene on a calm summer day. This is how he
proceeds —
" We are shut in by mountains," he says, " but
the blue lake seems as wide as the sea. On a rocky
promontory on the left hand the trees grow down
to the water's edge and the banks are precipitous,
indicating the great depth of this part of the lake.
The water is as smooth as glass ; on its surface
is one vessel, a heavily-laden market boat with
drooping sails, floating slowly down " (and so on) —
there is no need to repeat it all ; but when half a
column of word-painting had been written (and
well-written) the correspondent failed to present the
picture clearly to the eye without these fotir expla-
ELEMENT AR Y ILL USTRA TION.
natory lines (no more) which should of course have
been sent with his letter.
This method of description requires certain
aptitude and training ; but not much, not more than
many a journalist could acquire for himself with a
little practice. The director of the Daily Graphic
is reported to have said that " the ideal corre-
spondent, who can sketch as well as write, is not yet
born." He takes perhaps a higher view of the
artistic functions of a daily newspaper than we
should be disposed to grant him ; by "we" I mean,
of course, "the public," expecting news in the most
graphic manner. There are, and will be, many
moments when we want information, simply and
solely, and care little how, or in what shape, it
comes.
This kind of information, given pictorially, has no
pretension to be artistic, but it is " illustration " in the
true sense of the word, and its value when rightly
applied is great. When the ;ilterations at Hyde
Park Corner (one of the most important of the
London improvements of our day) were first debated
in Parliament, a daily newspaper, as if moved by
some sudden flash of intelligence, printed a ground-
plan of the proposed alterations with descriptive
te.\t ; and once or twice only, during Stanley's long
28 THE ART OF ILLUSTRATION.
absence in Africa, did we have sketches or plans
printed with the letters to elucidate the text, such as
a sketch of the floating islands with their weird in-
habitants, at Stanley's Station on the Congo river,
which appeared in a daily newspaper — instances of
news presented to the reader in a better form than
words. "The very thing that was wanted!" was
the general exclamation, as if there were some new
discovery of the powers of description.
As the war correspondent's occupation does not
appear likely to cease in our time, it would seem
worth while to make sure that he is fully equipped.
The method of writing employed by corre-
spondents on the field of battle seems unnecessarily
clumsy and prolix ; we hear of letters written actually
under fire, on a drum-head, or in the saddle, and on
opening the packet as it arrives by the post we may
find, if we take the trouble to measure it, that the
point of the pen or pencil, has travelled over a
distance of a hundred feet ! This is the actual as-
certained measurement, taking into account all the
ups and downs, crosses and dashes, as it arrives from
abroad. No wonder the typewriter is resorted to in
journalism wherever possible.
A newspaper correspondent is sent suddenly to
the seat of war, or is stationed in some remote
ELEMENTARY ILLUSTRATION. 29
country to give the readers of a newspaper the
benefit of his observations. What is he doing in
1894 ? In the imperfect, clumsy language which he
possesses in common with every minister of state
and public schoolboy, he proceeds to describe what
he sees in a hundred lines, when with two or three
strokes of the pen he might have expressed his
meaning better pictorially. I have used these words
before, but they apply with redoubled force at the
present time. The fact is, that with the means now
at command for reproducing any lines drawn or
written, the correspondent is not thoroughly equipped
if he cannot send them as suggested, by telegraph
or by letter. It is all a matter of education, and the
newspaper reporter of the future will not be
considered complete unless he is able to express
himself to some extent, pictorially as well as verbally.
Then, and not till then, will our complicated language
be rescued from many obscurities, by the aid of
lines other than verbal.*
In nearly every city, town, or place there is
* It seems strange that enterprising newspapers, with capital
at command, such as the Nno York Herald, Daily Telegraph,
and Pall Mall Gazette, should not have developed so obvious a
method of transmitting information. The Pall Mall Gazette has
been the most active in this direction, but might do much more.
30
THE ART OF ILLUSTRATION.
some feature, architectural or natural, which
gives character to it, and it would add greatly to the
interest of letters from abroad if they were headed
with a little outline sketch, or indication of the
principal objects. This is seldom done, because the
art of looking at things, and the power of putting
them down simply in a few lines, has not been
cultivated and is not given to many.
Two things are principally necessary to attain
this end —
A STUDY m PERSTECTIVE. (hUME NISDET.)
A. Standpoint. B. Point of Sight. C. Horizontal line. D. Vaniihing line;
E. Point of distance. F. Vanishing lines of dist.ince. G. Line of sight.
I. The education of hand and eye and a know-
ledge of perspective, to be imparted to every
schoolbo)', no matter what his profession or occu-
pation is likely to be.
ELEMENT A RY ILL US TRA TION.
2. The education of the public to read aright
this new language (new to most people), the "short-
hand of pictorial art."
The popular theory amongst editors and pub-
lishers is that the public would not care for informa-
tion presented to them in this way — that they
"would not understand it and would not buy it."
Sketches of the kind indicated have never been
fairly tried in England ; but the)' are increasing in
number every day, and the time is not far distant
when we shall look back upon the present system
with considerable amusement and on a book or a
newspaper which is not illustrated as an incomplete
production. The number of illustrations produced
and consumed daily in the printing press is
enormous ; but they are too much of one pattern,
and, as a rule, too elaborate.
In the illustration of books of all kinds there
should be a more general use of diagrams and
plans to elucidate the te.xt. No new building of
importance should be described anywhere without
an indication of the elevation, if not also of the
ground plan ; and, as a rule, no picture should be
described without a sketch to indicate the composi-
tion. In history words so often fail to give the
correct locale that it seems wonderful we have no
32 THE ART OF ILLUSTRATION.
better method in common use. The following
rough plan will illustrate one of the simplest ways
of making a description clear to the reader. Take
the verbal one first : —
"The young Bretonne stood under the doorway
of the house, sheltered from the rain which came
with the soft west wind. From her point of vantage
on the ' Place ' she commanded a view of the whole
village, and could see down the four streets of which
it was principally composed."
In this instance a writer was at some pains to
describe (and failed to describe in three pages) the
exact position of the streets near where the girl
stood ; and it was a situation in which photography
could hardly help him.
It may seem strange at first sight to occupy
the pages of a book on art with diagrams and
elementary oudines, but it must be remembered
that plans and diagrams are at the basis of a system
of illustration which will one day become general.
The reason, as already pointed out, for drawing
ELEMENTARY ILLUSTKATIOA. 33
attention to the subject now, is that it is only lately
that systems have been perfected for reproducing
lines on the printed page almost as rapidly as
setting up the type. Thus a new era, so to speak, in
the art of expressing ourselves pictorially as well as
verbally has commenced : the means of reproduction
are to hand ; the blocks can be made, if necessary,
in less than three hours, and copies can be printed
on revolving cylinders at the rate of 10,000 an hour.
The advance in scientific discovery by means of
subtle instruments brings the surgeon sometimes to
the knowledge of facts which, in the interests of
science, he requires to demonstrate graphically,
objects which it would often be impossible to have
photogra[)hed. With a rudimentary knowledge of
drawing and perspective, the surgeon and the
astronomer would both be better ec^uipped. At the
University of Pennsylvania, in Philadelphia, where
the majority of students are intended for the medical
profession, this subject is considered of high im-
portance, and the student in America is learning to
express himself in a language that can be under-
stood.
In architecture it is often necessary, in order to
understand the description of a building, to indicate
in a few lines not only the general plan and elevation,
THE ART OF ILLUSTRATION.
but also its position in perspective in a landscape or
street. Few architects can do this if called upon at
a moment's notice in a Parliamentary committee
room. And yet it is a necessary part of the
language of an architect.*
These remarks apply with great force to books of
travel, where an author should be able to take part
in the drawing of his illustrations, at least to the
extent of being able to explain his meaning and
ensure topographical accuracy.
A curious experiment was made lately with some
-students in an Art school, to prove the fallacy
of the accepted system of describing landscapes,
buildings, and the like in words. A page or two
from one of the VVaverley novels (a description of a
castle and the heights of mountainous land, with a
river winding in the valley towards the sea, and
clusters of houses and trees on the right hand) was
read slowly and repeated belore a number of
students, three of whom, standing apart from each
other by pre-arrangement, proceeded to indicate on
blackboards before an audience the leading lines of
the i)icture as the words had presented it to their
minds. It is needless to say that the results, highly
* It has been well said that if a building can be described
in words, it is not worth describing at all !
ELEMENTAR Y ILL USTRA TION.
skilful in one case, were all different, and all tunvijr,
and that in particular the horizon line of the sea (so
easy to indicate with any clue, and so important to
the composition) was hopelessly out of place. Thus
we describe day by day, and the pictures formed in
the mind are erroneous, for the imagination of the
reader is at work at once, and recjuires simple
guidance. The exhibition was, I need hardly say,
highly stimulating and suggestive.
Many arguments might be used for the substitu-
tion of pictorial for verbal methods of e.xpression,
which apply to books as well as periodicals. Two
may be mentioned of a purely topical kind.
I. In June, 1893, when the strife of political
parties ran high in England, and anything like a
rapprochement between their leaders seemed im-
possible, Mr. Gladstone and Mr. Balfour were seen
in apparently friendly conversation behind the
Speaker's chair in the House of Commons. A
newspaper reporter in t)ne of the galleries, observing
the interesting situation, does not say in so many
words, that "Mr. G. was seen talking to Mr. 1).,"
but makes, or has made for him, a sketch (without
caricature) of the two figures standing talking
together, and writes under it, " .linenilies behind
the Speaker s chair." Here it will be seen that the
36 THE ART OF ILLUSTRATION.
subject is approached with more delicacy, and
the position indicated with greater force through
the pictorial method.
2. The second modern instance of the i^ower —
the eloquence, so to speak, of the pictorial method
— appeared in the pages of Punch on the occasion
of the visit of the Russian sailors to Paris in
October, 1893. ^ rollicking, dancing Russian
bear, with the words " Vive la Repiibliquc" wound
round his head, hit the situation as no words could
have done, especially when exposed for sale in the
kiosques of the Paris boulevards. The picture
required no translation into the languages of
Europe.
It may be said that there is nothing new here —
that the political cartoon is everywhere — that it has
existed always, that it Hourished in Athens and
Rome, that all history teems with it, that it comes
down to us on English soil through Gillray, Row-
landson, Hogarth, Blake, and many distinguished
names. I draw attention to these things because
the town is laden with newspapers and illustrated
sheets. The tendency of the time seems to be to
read less and less, and to depend more upon pictorial
records of events. There arc underlying reasons for
this on which we must not dwell ; the point of im-
ELEMENTARY IIJ.USTRATIOX. 37
portance to illustrators is the fact that there is an
insatiable demand for "jjictures" which tell us
something- quickly and accurately, in a language
which every nation can understand.
,c {C Anotlier example of the use of pictorial ex-
pression to aid the verbat ' A traveller in the Harz
Mountains finds himself on the Zeigenkop, near
Blankenberg, on a clear summer's day, and thus
describes it in words : —
"We are now on the heights above Blankenberg, a promontory
1,360 feet abos'e the plains, with an almost uninterrupted view of
distant country looking northward and eastward. The plateau of
mountains on which we have been travelling here ends abruptly.
It is the end of the upper world, but the plains seem illimitable.
There is nothing between us and our homes in Berlin— nothing
to impede the view which it is almost impossible to describe in
words. The setting sun has pierced the veil of mist, and a map
of Northern Germany seems unrolled before us, distant cities
coming into view one by one. First, we see Halberstadt with its
spires, then Magdeburg, then another city, and another.
" We have been so occupied with the distant prospect, and
with the objects of interest which give character to it, that we
had almost overlooked the charming composition and suggestive
lines of this wonderful view. There is an ancient__caslle on the
heights, the town of Blankenberg at our feet, a strange wall ot
perpendicular rocks in the middle distance ; there are the curves
of the valleys, flat pastures, undulating woods, and roads winding
away across the plains. The central point of interest is the
church spire with its cluster of houses spreading upwards
towards the chateau, with its massive terraces fringed with
trees, &c., itc."
38
THE ART OF ILLUSTRATION.
This was all very well in word-painting, but what
a veil is lifted from the reader's eyes by some such
sketch as the one below.
NKENCERG, HARZ MOUN:
It should be mentioned that three photographic
prints joined together would hardly have given the
picture, owing to the vast extent of this inland view,
and the varying atmospheric effects.
The last instance I can give here is an engraving
from CassclTs Popnlar Edticator, where a picture
is used to demonstrate the curvature of the world's
surface; thus imprinting, for once, and for always, on
ELEMEiXTA RY J LLC 'S TRA TION.
39
the young reader's mind a fact which words fail to
describe adequately.
THE CL'KVATURE OF THE WORLDS :
This is "The Art of Illustration" in the true
sense of the word.
CHArXER III.
ARTISTIC ILLUSTRATIONS.
N referring now to more artistic illustra-
tions, we should notice first, some of the
changes which have taken place (since
the meeting referred to in the last
chapter), and, bridging over a distance of nearly
twenty years, consider the work of the illustrator,
the photographer, and the maker of process blocks,
as presented in books and newspapers in 1894;
speaking principally of toj^ical illustrations, on
which so many thousand people are now engaged.
It may seem strange at first sight to include
" newspapers " in a chapter on art illustrations, but
the fact is that the weekly newspapers, with their
new appliances for printing, and in consequence of
the cheapness of good paper, are now competing
with books and magazines in the production of
illustrations which a few years ago were only to be
found in books. The illustrated newspaper is one
of the great employers of labour in this field and
distributor of the work of the artist in black and
white, and in this connection must by no means be
L1\E DRAWING. 41
ignored. The Post-office carries a volume of 164
pages (each 22 by 16 inches), weighing from two
to three pounds, for a half-penny. It is called a
"weekly newspaper," but it contains, sometimes,
100 illustrations, and competes seriously with the
production of illustrated books.
Further on we shall see how the illustrations of
one number of a weekly newspaper are produced —
what part the original artist has in it, what part the
engraver and the photographer. These are things
with which all students should be acquainted.
The first stage of illustration, where little more
than a plan or elevation of a building is aimed at
(as suggested in the last chapter), and where an
author, with little artistic knowledge, is yet enabled
to explain himself, is comparatively easy ; it is when
we approach the hazardous domain of art that the
real difficulties begin.
As matters stand at present, it is scarcely too much
to say that the majority of art students and the
younger school of draughtsmen in this country are
" all abroad " in the matter of drawing for the press,
lacking, not industry, not capacity, but method.
That they do good work in abundance is not denied,
but it is not e.\actly the kind of work required — in
short, they are not taught at the outset the value of
( 42 )
No. IV.
" Tiresome Dog," by E. K. Johnson.
This example of pen-and-ink work has been
reproduced by the gelatine rehef process. The
drawing, which has been greatly reduced in repro-
duction, was made by Mr. Johnson for an Illustrated
Catalogue of the Royal Water-Colour Society, of
which he is a member.
It is instructive as showing the possibilities and
limitations of relief process-work in good hands.
The gradation of tone is all obtained in pure black,
or dotted lines. Mr. Dawson has aided the effect by
" rouletting " on the block on the more delicate
parts ; but most of the examples in this book are
untouched by the engraver.
{Sec Appendix.)
.^ -:.s>^-v ^^iW""-x-:^^l£^^a^..
No. IV.
i^Ro)al Ac(uh'»iy, 1891.)
LINE DRAWING. 45
a line. That greater skill and certainty of drawing
can be attained by our younger draughtsmen is
unquestionable, and, bearing in mind that nearly
every book and nciuspapei- in tJie future will be
illustrated, the importance of study in this direction
is much greater than may appear at first sight.
Referring to the evident want of training amongst
our younger draughtsmen, the question was put very
bluntly in the Athcmcuni some years ago, thus : —
Why is not drawing in line with pen and ink taught in our
own Government schools of art ? The present system in schools
seems to render the art of drawing of as little use to the student
as possible, for he has no sooner mastered the preliminary stage
of drawing in outline from the flat with a lead pencil, than he has
chalk put into his hand, a material which he will seldom or never
use in turning his knowledge of drawing to practical account.
The readier method of pen and ink would be of great service as
a preparatory stage to wood drawing, but unfortunately drawing
is taught in most cases as though the student intended only to
become a painter.
Since these lines were written, efforts have been
made in some schools of art to give special training
for illustrators, and instruction is also given in
wood engraving, which every draughtsman should
learn ; but up to the present time there has been
no systematic teaching in drawing applicable to
the various processes, for the reason that the
majority of art masters do not understand them.
46
THE ART OF ILLUSTRATION.
The art of expression in line, or of expressing the
effect of a picture or a landscape from Nature in a
few leading lines (not necessarily outline) is little
understood in this country ; and if such study, as
the Atlicnccuvi pointed out, is important for the
a^^rlW-
wood draughtsman, how much more so in drawing
for reproduction by photo-mechanical means ? A
few artists have the gift of expressing themselves
in line, but the majority are strangely ignorant of
LINE DRAWING. 47
the principles of this art and of the simple fac-simile
processes by which drawing can now be reproduced.
In the course of twenty years of editing the Academy
Notes, some strange facts have come to the writer's
<fe.
\ "^
Av
"a IJGHT of laughing flowers along the grass is SI'READ.*' (m. RIDLEY CORItET.)
notice as to the powerlessness of some painters to
express the motif of a picture in a few lines ; also
as to how far we are behind our continental neigh-
bours in this respect.
( 48 )
No. V.
H. S. Marks.
An example of line drawing and " the art of
leaving out," by the well-known Royal Academician.
Mr. Marks and Sir John Gilbert (see frontispiece)
were the first painters to explain the composition and
leading lines of their pictures in the Acadetny Notes in
1876. Mr. Marks suggests light and shade and the
character of his picture in a few skilful lines. Sir
John Gilbert's pen-and-ink drawing is also full of
force and individuality. These drawings reproduce
well by any of the processes.
Nu. V.
SELECT COMMITTEE." {kkOM THE PAINTING BY H. S. MARKS, K.A.)
{Royal Acadevty^ 1891.)
LINE DRAWING.
It is interesting to note here the firmness of hne
and clearness of reproduction by the common
process block ; the result being more satisfactory
than many drawings by professional illustrators.
The reason is not far to seek ; the painter knows his
picture and how to give the effect of it in black and
white, in a few lines ; and, in the case of Mr. Corbet
and Miss IVIontalba, they have made themselves
acquainted with the best way of drawing for the
Press. There are many other methods than pen-
and-ink which draughtsmen use,— pencil, chalk,
wash, grained paper, &c., but first as to line
drawing, because // is t/ic only means by ichick
certain results can be obtained, aiul it is the one
which, for practical reasons, should be first mastered.
Line drawings are now reproduced on zinc blocks
fitted for the type press at a cost of less than six-
pence the square inch for large blocks ; the pro-
cesses of reproduction will be explained further on.
It cannot be sufficiently borne in mind— I am
speaking now to students who are not intimate
with the subject — that to produce with pure
black lines the quality and effect (jf lines in
which there is some gradation of tone, is no easy
matter, especially to those accustomed to the wood
engraver as the interpreter of their work. Sir John
THE ART OF ILLUSTRATION.
Tenniel, M. du Maurier, and Mr. Sambourne, not
to mention others on the Punch staff, have been
accustomed to draw for wood engraving, and would
probably still prefer this method to any other.
'™ '*!?i"'Va.t
HE ROSE QUEEN." (C. D. LESLIE, R.A.)
{From ^* Academy Notes,'* 1S93.)
But the young illustrator has to learn the newer
methods, and how to get his effects through direct
photo-engraving. What may be done by process
LINE DRAWING. 53
is demonstrated in the line drawings interspersed
through these pages, also in the illustrations which
are appearing every day in our newspapers, maga-
zines, and books — especially those which are well
printed and on good paper. Mr. George Leslie's
pretty line drawing from his picture, on the opposite
page, is full of suggestion for illustrative purposes.
But let us glance first at the ordinary hand-book
teaching, and see how far it is useful to the illustra-
tor of to-day. The rules laid down as to the methods
of line work, the direction of lines for the expression
of certain te.xtures, " cross-hatching," &c., are, if
followed too closel}', apt to lead to hardness and
mannerism in the young artist, which he will with
difficulty shake off On these points, Mr. Robertson,
the well-known painter and etcher, writing seven
years ago, says well : —
" The mental properties of everj' line drawn witli pen and ink
should be original and personal . . . this strong point is
sure to be attained unconsciously, if an artist's work is simple
and sincere, and twt the imitation of another man's sty/e." *
When the question arises as to what e.xamples a
beginner should copy who wishes to practise the art
of pen-and-ink drawing, the dilliculty will be to
select from the great and varied stores of material
• No one artist can teach drawing in line without a tendency
to mannerism, especially in art classes.
54 THE ART OF ILLUSTRATION.
that are everywhere to his hand. All steel and
copper-plate engravings that have been executed in
line, and all wood engravings, are within the possible
range of pen-and-ink drawing. I hold, however,
that much time should not be occupied in the imita-
tative copying of prints : only, indeed, so much as
enables the student to learn with what arrangement
of lines the different textures and qualities of objects
may be best rendered.
There are, roughly, two methods of obtaining
effect with a pen — one by few lines, laid slowly, and
the other by many lines, drawn with rapidity. If
the intention is to see what effect may be obtained
with comparatively few lines deliberately drawn, we
may refer to the woodcuts after Albert Dtirer and
Holbein, and the line engraving of Marc Antonio.
The engraved plates by Dtirer furnish excellent
examples of work, with more and finer lines than
his woodcuts [but many of the latter were not done
by his hand]. " Some of the etchings of Rembrandt
are examples of what may be fairly reproduced in
pen and ink, but in them we find the effect to
depend upon innumerable lines in all directions. In
the matter of landscape the etched plates by Claude
and Ruysdael are good examples for study, and in
animal life the work of Paul Potter and Dujardin."
IJXE DRAWING.
Thus, for style, for mastery of effect and manage-
ment of line, we must go back to the old masters ;
to work produced generally in a reposeful life, to
which the younger generation are strangers. But
the mere copying of other men's lines is of little
avail without mastering the principles of the art of
line drawing. The skilful copies, the fac-similes of
engravings and etchings drawn in pen and ink,
which are the admiration of the young artist's
friends, are of little or no value in deciding the
aptitude of the student. The following words are
worth placing on the walls of every art school : —
Proficiency in copying engravings in fic-simile,
far from suggesting promise of distinction in the
profession of art, plainly vtarks a tendency to
niecJianical pursuits, and is not likcl\- to be acquired
by anyone with much instinctive feeling for the
arts of design." There is much truth and insight
in this remark.
In line work, as now understood, we are going
back, in a measure, to the point of view of the
missal writer and the illuminator, who, with no
thought o( the possibilities of reproduction, pro-
duced many of his decorative pages by management
of line alone (I refer to the parts of his work in
which the effect was produced by black and
LINE DRAWING. 57
white). No amount of patience, thought, and
labour was spared for this one copy. What
would he have said if told that in centuries
to come this line work would be revived in its
integrity, with the possibility of the artist's own
lines being reproduced 100,000 times, at the rate
of several thousand an hour. And what would
he have thought if told that, out of thousands of
students in centuries to come, a few, a very few
only, could produce a decorative page ; and that
few could be brought to realise that a work which
was to be repeated, say a thousand times, was
worthy of as much attention as his ancestors gave
to a single copy !
On the principle that "everything worth doing is
worth doing well," and on the assumption that
the processes in common use — [I purposely omit
mention here of the older systems of drawing on
transfer paper, and drawing on waxed plates, without
the aid of photography, which have been dealt with
in previous books] — are worth all the care and
artistic knowledge which can be bestowed ujjon
them, we would press, upon young artists especially,
the importance of study and experiment in this
direction. As there is no question that " the hand-
work of the artist " can be seen more clearly through
S8 THE ART OF ILLUSTRATION.
mechanical engraving than through wood engraving,
it behoves him to do his best. And as we are
substituting process blocks for wood engraving in
every direction, so we should take over some of the
patience and care which were formerly given to
book illustrations.
We cannot live, easily, in the "cloistered silence
of the past," but we can emulate the deliberate and
thoughtful work of Mantegna, of Holbein, of Albert
Diirer, and the great men of the past, who, if they
were alive to-day, would undoubtedly have preferred
drawing for process to the labour of etching and
engraving ; and, if their work were to be reproduced
by others, they would have perceived, what it does
not require much insight in us to realise, that the
individuality of the artist is better preserved, by
making his own lines.
To do this successfully in these days, the artist
must give his best and most deliberate (instead of
his hurried and careless) drawings to the processes ;
founding his style, to a limited extent it may be, on
old work, but preserving his own individuality.
But we must not sla\'ishly copy sketches by the
old masters, which were never intended for re-
production. We may learn from the study of them
the power of line to express character, action, and
LINE DRAWING.
effect, we may learn composition som.ctimes, but not
often from a sketch.
As to copying the work of hving artists, it shouUl
be remembered that the manner and the method of
a line drawing is each artist's property, and the
X ,, n Mnn^ ( cimm s )
repetition of it by others is injurious to him. It
would be an easy nK!thod indeed if the young artist,
fresh from the schools, could, in a few weeks, imitate
the mannerism, say of Sir John Gilbert, whose style
is founded upon the labour of 50 years. There is
no sucli royal road.
( 6o )
No. VI.
"A Ploughbfly" by George Clausen.
An excellent example of sketching in line. The
original drawing was i\ x 5I in. I have reproduced
Mr. Clausen's artistic sketch of his picture in two
sizes in order to compare results. The small block
on page 59 (printed in Grosvenor Notes, 1888)
appears to be the most suitable reduction for this
drawing. The results are worth comparing by
anyone studying process work. The first block was
made by the gelatine process ; the one opposite by
the ordinary zinc process. {See Appendix?)
No. VI.
Liu
LINE DRAWING. 63
To return to illustration. The education of
the illustrator in these days means much more
than mere art training-. The tendency of editors
of magazines and newspapers is to employ those
who can write as well as draw. This may not be
a very hopeful sign from an art point of view, but
it is a condition of things which we have to face.
Much as we may desire to see a good artist and a
good raconteur in one man, the combination will
always be rare ; those editors who seek for it
are often tempted to accept inferior art for the sake
of the story. I mention this as one of the intluences
affecting the quality of illustrations of an ephemeral
or topical kind, which should not be overlooked.
In sketches of society the education and standing
of the artist has much to do with his success.
M. du Maurier's work in Punch may be taken as
an example of what I mean, combining excellent
art with knowledge of society. His clever followers
and imitators lack something which cannot be
learned in an art school.
It should be understood that, in drawing for
reproduction by any of the mechanical processes
(either in wash or in line, but especially the latter),
there is more strain on the artist than when his
work was engraved on wood, and the knowledge of
( 64 )
No. VII.
^'' Blcnvmg Bubbles," by C. E. Wilson.
This is an excellent example of drawing — and of
treatment of textures and surfaces — for process re-
production. The few pen touches on the drapery
have come out with great fidelity, the double lines
marking the paving stones being the only part giving
any trouble to the maker of the gelatine relief block.
The skilful management of the parts in light shows
again " the art of leaving out."
c?X^
No. VII.
66 THE ART OF ILLUSTRATIOA.
this has left drawing for process principally in the
hands of the younger men. They will be older by
the end of the century, but not as old then as some
of our best and experienced illustrators who keep to
wood engraving.
I am touching now upon a difficult and delicate
part of the subject, and must endeavour to make
niv meaning clear. The illustrations in Piiiic/ihave,
until lately, all been engraved on wood (the elder
artists on the staff not taking kindly to the processes),
and the. style and manner of line we see in its pages
is due in great measure to the influence ot the wood
engraver.*
This refers to fac-simile work, Init the engraver,
as we know, also interprets wash into clean lines,
helps out the tiniid and often unsteady draughtsman,
and in little matters puts his drawing right.
The wood engraver was apprenticed to his art,
and after long and laborious teaching, mastered the
mechanical difficulties. If he had the artistic sense
he soon developed into a master-engraver and illus-
trator, and from crude and often weak and inartistic
* One of the most accomplished of English painters told me
the other day that when he first drew for illustration, the wood
engraver dictated the angle and style of cross-hatching, &c., so as
to fit the engraver's tools.
LINE DRAWING. 67
drawinq^s produced illustrations full of tone, quality,
and beauty. From very slight material handed to
him by the publisher, the wood engraver would
evolve (from his inner consciousness, so to speak)
an elaborate and graceful series of illustrations,
drawn on the wood block by artists in his own
employ, who had special training, and knew exactly
how to produce the effects required. The system
often involved much care and research for details of
costume, architecture, and the like, and, if not very
high art, was at least well paid for, and appreciated
by the public. I am speaking of the average illus-
trated book, say of twenty years ago, when it was not
an uncommon thing to spend ^500 or ^600 on the
engravings. Let us hope that the highest kind of
wood engraving will alwa\s ilnd a home in Englantl.
Nobody knows — nobody ever will know — how
much the engraver has done for the artist in years
past. " For good or evil," — it may be said ; but I
am thinking now only of the good, of occasions
when the engraver has had to interpret the artist's
meaning, and sometimes, it must be confessed, to
come to the rescue and [)erfect imperiect work.
The artist who draws for reproduction by chemical
and mechanical means is thrown upon his own re-
sources. He cannot say to the acid, " Make these
( 68 )
No. VIII.
Illustration to " Dream/and in History," by Dr.
Gloucester. (London : Isbister & C^o.) Drawn by
Herbert Railton.
Example of brilliancy and simplicity of treatment
in line drawing for process. There is no illustration
in this book which shows better the scope and variety
of common process work. Mr. Railton has studied
his process, and brought to it a knowledge of
architecture and sense of the jiicturesque. This
illustration is reduced considerably from the original
drawing
No. VI II.
^o
THE ART OF ILLUSTRATION.
lines a little sharper," or to the sun's rays, " Give a
little more light " ; and so — as we cannot often have
good wood engraving, as it is not always cheap
enough or rapid enough for our needs — we draw on
r
;',-^<Sfc,
ICEQUENTED WA-\S." {\V. H. GORE.)
])apcr what we want reproduced, and resort to one
of the photographic processes described in this book.
I do not think the modern illustrator realises how
niucli depends upon him in taking the place, so to
speak, of the wood engraver. The interpretation
LINE DRAWING.
of tone into line fitted for the type press,
to which the wood engraver gave a hfetinie, will
devolve more and more upon him. We cannot
keep this too continually in mind, for in spite of
the limitations in mechanically-produced blocks
(as compared with wood engraving) in obtaining
delicate effects of tone in line, much can be done
in which the engraver has no part.
^.
LOWING HERD
I purposely place these two pen-and-ink drawings
by Mr. Gore side by side, to .show what delicacy
of line and tone may be obtained on a relief block
by proper treatment. One could hardly point to
better examples of pure line. They were drawn
on ordinary cardboard (the one above, 4;[X9j in.)
and reproduced by the; gelatine relief process.
All this, it will be observed, points to a more
73 THE ART OF ILLUSTRATIOX.
delicate and intelligent use of the process block
than is generally allowed, to something, in short
very different to the thin sketchy outlines and
scribbles which are considered the proper style
for the "pen-and-ink artist."
But " the values" are scarcely ever considered in
this connection. iNIr. Hamerton makes a curious
error in his Grap/iic Aiis, where he advocates
the use of the " black blot in pen drawing," arguing
that as we use liberally white paper to express air_
and various degrees of light, so we may use masses
of solid black to represent many gradations of
darkness. A little reflection will convince anyone
that this is no argument at all.
Mr. Ruskin's advice in his Elements of Drawing,
as to how to lay tkit tints by means of pure
black lines (although written many years ago, and
before mechanical processes of reproduction were
in vogue) is singularly applicable and useful to the
student of to-day; especially where he reminds
him that, "if you cannot gradate well with pure
black lines, you will never do so with pale ones."
To " gradate well with pure black lines ' is, so to
speak, the whole art and mystery of drawing for the
photo-zinc process, of which one London firm alone
turns out more than a thousand blocks a week.
Lh\r. DRAWIXG.
As to the amount of reduction th;it a drawini; will
bear in reproduction, it cannot be sutliciently widely
known, that in spite of rules laid down, there is no
rule about it.
' ADVERSITY." (FRED. HALL.)
It is interesting to compare this reproduction
with the larger one overleaf. There is no limit to
the e.xperiments which ma\- be made in reduction,
if pursued on scientific principles.
{ 74 )
No. IX.
'^Adversity," by I'red. Hall.
This fine drawing was made in [len and ink by Mr.
Hall, from his picture in llie Royal Academy, 18S9.
Size of original 14,'. xii^ in. Reproduced by
gelatine blocks.
The feeling in line is conspicuous in both blocks,
but many painters might prefer the smaller.
No. IX.
(from the I'AINTINC BY MAUD NAFTEL.
(.Vew Gallcrv, 1SS9.)
USE DRAWING.
Mr. Emery Walker, of the firm of Walker and
Boutall, who has had great experience in the re-
production ol illustrations and designs from old
books and manuscripts, will tell you that very often
there is no reduction of the original ; and he will
show reproductions in photo-relief of (Migravings
and drawings of the same size as the originals, the
character of the paper, and the colour of the printing
also, so closely imitatetl that experts can hardlv
distinguish one from the other. On the other hand,
the value ot reduction, for certain styles of drawing
especially, can hardly be over-estimated. The last
drawing was reduced to less than half the length of
the original, and is, I think, one of the best results
yet attained by thc^ Dawson relief process.
Again, I say, " there is no rule about it." In
the course of years, and in the reduction to various
scales of thousands of drawings by different artists,
to print at the type press, my experience is th;it
every draiving has its scale, to zv/nch it is best
reduced.
In these pages will be found cxanniles of drawings
reduced to one-sixtieth the area of the original,
whilst others have not been reduced at all.
There is much instruction in these drawings by
painters, instruction of a kind, not to be obtained
7S )
No. X.
" Tioiiis," by Stanley Berkley.
Sketch in pen and ink. (size S]; x 5!- in.) from Mr.
Berkley's picture in the Grosvenor Gallery in 1S84.
A good example of breadth and expression in
line, the values being well indicated. Mr. Berkley,
knowing animal life well, and knowing his picture, is
able to give expression to almost every touch. Here
the common zinc process answers well.
"-''■'-Ml
:'^ Im.'^.^i f' . '■ J[''^ ^■■•-^
(. ;/'';' '-^
y^
No. X.
ISLAND." (kROM the FAINTIKC
{Royal Ac(uiej/:y, 1S85.)
LINE DRAWING.
elsewhere. The broad distinction between a
" sketch " from Nature and a drawing tiiade in a
sketchy manner cannot be too often pointed out, and
such drawings as those by I\Ir. G. Clausen (p. 59),
Fred. Hall ([). ^A Stanlc)- Berkley (p. 79), T. C.
Gotch (p. S3), and others, help to ex[)lain the
difference. These are all reproduced easily on
process blocks.*
As to sketching- in line from life, reacl\- for
reproduction on a process block, it is necessary to
say a few wortls here. The s)-stem is, 1 know,
followed by a lew illustrators for ncwsjaapcrs (and
by a few geniuses like Mr. Joseph Pennell, Raven
Hill, and Phil. May, who have their own methods),
and who, by incessant practice, have become pro-
ficient. They have special ability for this kind of
work, and their manner and st)le is their capital
and attraction.
But to attempt to teach rapid sketching in pen
and ink is beginning at the wrong end, and is fital
to good art ; it is like teaching the principles of
* Special interest attaches to the cx.Tmi)les in this book from
the fact that they have nearly all been draivn on dijfcrcnt kinds of
paper, and TivV// different materials ; and yet nearly all, as will be
seen, have come out successfullv, and give the spirit of the
original.
( 82 )
No. XI.
A Portrait, by T. C. GoTCH.
Pen-and-ink drawing (size 7-^x6i in.), from his
picture in the Exhibition of the New EngHsh Art
Club, 18S9.
Mr. Gotch is well known for his painting of
children ; but he has also the instinct for line
drawing, and a touch which reproduces well without
any help from the maker of the zinc block.
The absence of outline, and the modelling sug-
gested by vertical lines, also the treatment of
background, should be noticed. This background
lights up when opposed to white and vice-versa.
No. XI.
LIXE DRAWING. S5
pyrotechnics wliilsc fireworks are goini; dIT. .And
yet we hear of prizes given lor ra[)id sketches to
l)e reproduced by the processes. Indeed, I Ijeheve
this is the wrong road ; the baneful result of hving
in high-pressure times. It is cHfhcult to imagine
any artist of the past consenting to such a system
of education.
Sketching from life is, of course, neces.sary to the
student (especially when making illustrations by wash
drawings, of which I shall speak presently), but for
line work it should be done first in pencil, or
whatever medium is easiest at the moment. The
lines for reproduction require thinking" about,
thinking what to leave out, how to interpret the
grey of a pencil, or the tints of a brush sketch
in the fewest lines. Thus, and thus onl)-, the
student learns "the art of leaving out," "the value
of a line."
The tendency of modern illustrators is to imitate
somebody ; and in line drawing for the processes,
where the artist, and not the engraver, has to make
the lines, imitation of some man's method is almost
inevitable.
Let me (juute an instance. The style of the late
Charles Keene is imitated in more than one jour-
nal at the present time, the artists catching his
( 86
No. XII.
" Sir Ji'kn Tcniiicl" by Edwin Ward.
Example of another style of line drawing. Mr.
Ward is a master of line, as well as a skilful portrait
painter. He has lost nothing of the force and
character of the original here, by treating it in line.
Mr. Ward has painted a series of small portraits
of public men, of which there is an example on p. 90.
Size 01 pen-and-ink drawing 8^x5,', in., repro-
duced by common process.
^3.^;^ ti<^^.
'J^^
ill I'-'iir W^
No. XII.
OF CAj^f2>^
LIXE DRAWIXG. 89
method of line more easily than the hicjher qualities
of his art, his chiaroscuro, his sense of values and
atmospheric effect. I say nothing of his pictorial
sense and humour, for they are beyond imitation.
It is the husk only we have jiresented to us.
As a matter of education and outlook for the
younger generation of illustrators, this imitation of
other men's lines deserves our special consideration.
Nothing is easier in line work than to copy from
the daily press. Nothing is more prejudicial to
good art, or more fatal to progress.
And yet it is the habit of some instructors to
hold up the methods (and the tricks) of one
draughtsman to the admiration of students. I read
in an art periodical the other day, a suggestion for
the better understanding of the way to draw topical
illustrations in pen and ink, viz. : that e.\ami)les
of the work of Daniel Vierge, Rico, Abbey, Raven
Hill, and other noted pen draughtsmen, should be
"set as an exercise to students; " of course with
explanation by a lecturer or teacher. But this
is a dangerous road for the average student to
travel. Of all branches of art none leads so quickly
to mannerism as line work, and a particular manner
when thus acquired is ilithcult to shake oft.
Think of the consequences — \'ierge with his garish
THE ART OF ILLUSTRATIOX.
lights, his trick of black spots, his mechanical
shadows and neglect of chiaroscuro — all redeemed
and tolerated in a genius for the dash and spirit
HE RT. HON. JOHN MOR
and beauty of his lines — lines, be it observed, that
reproduce with difficulty on relief blocks — imitated
by countless students; Mr. E. A. Abbey, the
refined, and delicate American draughtsman, imitated
•aNL*/t HSITY
LINE DRAWISG. 9'
for liis method — the style and chic of it being his
own, and inimitable. Think of the crowd coming
on — imitators of the imitators of Rico — ^ imitators of
the imitators of Charles Keene !
It may be said generally, that in order to obtain
work as an illustrator — the practical point — there
must be originality of thought and design. There
must be originality, as well as care and thought
bestowed on every drawing for the Press.
The drawing of portraits in line from photo-
graphs gives employment to some illustrators, as
line blocks will print in newspapers much better
than photographs. But for newspaper printing
they must be done with something of the precision
of this portrait, in which the whites are cut deep
and where there arc few broken lines.
It is the exception to get good printing in
England, under present conditions of haste and
cheapening of production, and therefore the best
drawings for rapid reproduction are those that
require the least touching on the part of the
engraver, as a touched-up process block is troublesome
to the printer ; but it is difficult to impress this on
the artistic mind.
Some people cannot draw firm clean lines at all, and
should not attempt them. Few allow sufficiently for
92 )
No. XIII.
'■'Nofhiiigvatimr, no/hi/ig /laiT," by E-P.Sanguinltti.
Pen-and-ink drawing from the picture by E. V.
Sanguinetti, exhibited at the Nineteenth Century
Art Society's Gallery, 1888.
The large block is suitable for printing on common
paper, and by fast machines. The little block is
best adapted for bookwork, and is interesting as
showing the quality obtained by reduction. It is
an excellent example of drawing for process, showing
much ingenuity of line. The tone and shadows on
the ground equal the best fac-simile engraving. (Size
of original drawing, from which both blocks were
made, 15 x 10 in.)
No. XIU.
( 94 )
<
LINE DRAWING. 95
the result of reduction, and the necessary thickening-
of some lines. The results are often a matter of
touch and temperament. Some artists are naturally
unfitted for line work ; the rules which would apply
to one are almost useless to another. Again, there
is great inequality in the making of these cheap
zinc blocks, however well the drawings may be
made ; they require more care and experience in
developing than is generally supposed.
As line drawing is the basis of the best drawing
for the press, I have interspersed through these
pages examples and achievements in this direction ;
examples which in nearly every case are the result
of knowledge and consideration of the requirements
of process, as an antidote to the sketchy, careless
methods so much in vogue. Here we may see —
as has probably never been seen before in one volume
— what harmonies and discords may be played on
this instrument with one string. One string — no
" messing about," if the phrase may be excused —
pure black lines on Bristol board (or paper of the
same surface), photographed on to a zinc plate, the
white parts etched away and the drawing made to
stand in relief, ready to print with the letterpress of
a book ; every line and touch coming out a black
one, or rejected altogether by the process.
No. XIV.
" I'or Vie S(/!iin\" by Sir John Mii.i.ais,
B.\RT., R..\.
This is an example of drawing for process for
rapid printing. The accents of the picture are
e.Kpressed firmly and in the fewest lines, to give the
effect of the picture in the simplest way. Sir John
Millais' picture, which was exhibited in the Grosvenor
Gallery in 1883, was engraved in mezzotint, and
published by Messrs. Thos. Agnew & Sons. (Size
of pen-and-ink drawing, 7] x 5! in.) It is suitable
for much CTeater reduction.
No. XIV,
LINE DRAWING. 99
Drawinos thus made, upon Bristol board or paper
of similar surface, with lamp black, Indian ink, or
any of the numerous inks now in use, which dr)'
with a dull, not shiny, surface, will always reproduce
well. The pen should be of medium point, or a
brush may be used as a pen. The lines should be
clear and sharp, and are capable of much variation
in style and treatment, as we see in these pages. I
purposely do not dwell here upon some special
surfaces and papers by which different tones and
effects may be produced by the line processes ;
there is too much tendency already with the
artist to be interested in the mechanical side.
I have not recommended the use of ''clay board,"
for instance, for the- line draughtsman, although it
is much tised for giving a crisp line to jjrocess
work, and has a useful surface for scraping out
lights, &c. The results are nearly always
mechanical looking.*
On the next page are two simple, straightforward
drawings, which, it will be observed, are well suited
to the method of reproduction for the type press.
The t^rst is by Mr. 11. S. Marks, R.A. (which I
* For description of the various grained papers, &c., see
])Dge 1 1 3, also Appendix.
THE ART OF ILLUSTRATION.
take from the pages of Academy Notes), skilfully
drawn upon Bristol board, about 7X5 in.
Here every line tells, and none are superfluous;
the figure of the monk, the texture of his dress,
the old stone doorway, the creeper growing on
"the STOrPF.D KEY." (ll
the wall, and the basket of provisions, all form a
picture, the lines of which harmonise well with
the type of a book.
In this deliberate, careful drawing, in which
white paper plays by far the principal part, the
LINE DRAWING.
background and lighting of the picture are con-
sidered, also the general balance of a decorative
page.*
* The young "pen-and-ink artist" of to-day generally avoids
backgrounds, or renders them by a series of unmeaning
scratches ; he does not consider enough the true " lighting of a
picture," as we shall see further on. The tendency of much
modern black-and-white teaching is to ignore backgrounds.
BAS-BKl.IEF. (h. HOLIDAY.)
Academy Notes. ")
CH\PTER IV.
THOTO - ZINC
TROCESS.*
In order to turn any of these drawings into
blocks for the type press, the first process is
to have it photographed to the size required,
and to transfer a print of it on to a sensitized
zinc plate. This print, or photographic image
of the drawing lying upon the zinc plate, is
of greasy substance (bichromate of potash and
gelatine), and is afterwards inked up with a roller ;
the plate is then immersed in a bath of nitric acid
and ether, which cuts away the parts which were
* The heading to this chapter was drawn in line and reproduced
by photo-zinc process. (See page 134)
T.INE r/WCESS. 103
left \vliit(; upon the paper, and leaves the lines of the
drawing in relief This "biting in," as it is called,
requires considerable experience and attention,
according to the nature of the drawing. Thus, the
lines are turned into metal in a few hours, and the
plate when mounted on wood to the height of type-
letters, is ready to be printed from, if necessary, at
the rate of several thousands an hour.
MT. (T. l.l.AkK VMKijM.,:
{From ** Academy Notes.'*)
[This portrait was exhibited in the Royal Academy
in 1880. I reproduce Mr. Wirgman's sketch for the
sake of his [lowerful treatment of line.]
( 104 )
No. XV.
" Forget-Me-Not,'" by Henry Ryland.
(From the "English Illustrated Magazine.'')
An unusually fine example of reproduction in line,
by zinc process, from a large pen-and-ink drawing. It
serves to show how clearly writing can be reproduced
if done by a trained hand. Students should notice
the variety of " colour " and delicacy of line, also
the brightness and evenness of the process block
throughout.
This illustration suggests possibilities in producing
decorative pages in modern books without the aid
of printers' type, which is worth consideration in art
schools. It requires, of course, knowledge of th2
figure and of design, and a trained hand for process.
One obvious preparation for such work, is an examina-
tion of decorative pages in the Manuscript Department
of the British Museum, (^i? Appendix)
It would be difficult, I think, to show more clearly
the scope and variety of line work by process than
in the contrast between this and the two preceding
illustrations. Each artist is an expert in black and
white in his own way.
e^
JpTQeCTlOC vet the tried tnt&nt
Qf^ujoh. aCnun txsJhave meant
vriyareai tTazxxU cocSiadtY ~5bent
^^ 3'o'r6ec -not -let
^oT^et -not ^et (johen fi.-rsC be^CL-n,
She. (jc>ea-rfX.iJe j-e /^houx since uJieru
t/OT^ei ■>7ct'(et the.£reat assays
ahecrueL u}T~cng (rie.'Se.oi^nfuL iXiavs
Sfhe pOJ-nfuL patxenae. u-n dLeioi(S
5firtfe^ noC then, thxne. ou^n appro\je.ci
<fne uyuch. Jo txirig hoUh. thee xso CouecC
XlIIxox ^CeadfasC faUh.i{et -neuernicoed
' J ^ forget njot wet
€foTget not! QJbrgeC not (Acs
■ytc&t (ongagb hxuh been. arui. ls
ahe'TntrioL &iaX neue-r inecxnc amisi
^orgec "noC wee
No. XW
l.IXE PROCESS.
A wonderful and startling invention is here,
worthy of a land of enchantment, which, without
labour, with little more than a wave of the hand,
transfixes the artist's touch, and turns it into
concrete ; Ijy which the most delicate and hasty
{From ^'Aindvnty Notes," iSoo.)
strokes of the pen are not merely recorded in
fac-simile for the eye to decipher, but are brought
out in sharp relief as bold and strong as if hewn
out of a rock ! 1 1 ere is an argument for doing "the
best and truest work we can," a process that renders
loS
THE ART OF ILLUSTRATION.
indestructible — so indestructible that nothing short
of cremation would get rid of it — every line that we
put upon paper ; an argument for learning for
purposes of illustration the touch and method
best adapted for reproduction b\- the press.*
"a silent pool." (ed. w. waite.)
(From "Academy Kotcs,'' 1691.)
* The mechanical processes, neglected and despised by the
majority of illustrators for many years, have, by a sudden freak of
fashion, apparently become so universal that, it is estimated,
several thousand blocks are made in London alone every week.
LINE PROCESS. 109
GELATINE PROCESS.
By this process a more delicate ami sensitive
method has been used to obtain a relief block.
The drawing is photographed to the required size
(as before), and the negative laid upon a glass plate
(previously coated with a mi.xture of gelatine and
bichromate of potash). The part of this thin, sensi-
tive film not exposed to the light, is absorbent, and
when immersed in water swells up. The part
exposed to the light (/>., the lines of the drawing)
remains near the surface of the glass. Thus we
have a sunk mould from which a metal cast can be
taken, leaving the lines in relief as in the zinc
process. In skilful hands this process admits of
more delicate gradaticms, and pale, uncertain lines
can be reproduced with tolerable fidelit\'. The
blocks take longer to make, and are double the jjrice
of the photo-zinc process first described. There is
no process yet invented which gives better results
from a pen-and-ink drawing for the type-press.
These blocks when completed have a copper surface.
The reproductions of pencil, chalk, or charcoal draw-
ings by the zinc, or " biting-in " processes are nearly
always failures, as we may see in some of the best
artistic books and magazines to-day.
( no )
No. XVI.
" The Miller's Daughter^' by E. K. Johnson.
Another very interesting example of Mr. E. K.
Johnson's drawing in pen and ink. Nearly every
line has the value intended by the artist.
The drawing has been largely reduced, and
reproduced by the gelatine relief process.
"^
No. XV] .
"THE END OF THE CifAI'TER." (FROM THE PAINTING UV w. KAIKEV.)
[Roj'nl Acatieiii}', lSS6.]
(Reproduced ty the old Da-.vson fyocess.)
GRALXED PAPERS.
"in the I'AS DE CALAIS." (jAF. PRINSEP BEADLE.)"
GRAINED PAPERS.
For tho.SC who cannot draw easily with the pen,
there are several kinds of grained papers which
render drawings suitable for reproduction. The
first is a paper with black lines imprinted upon it on
a material suitable for scraping out to get lights,
and strengthening with pen or pencil to get solid
blacks. On some of these papers black lines are
* This excellent drawing was made on rough white paper
with autographic chalk ; the print being much reduced in size.
It is seldom that such a good grey block can be obtained by this
means.
114
THE ART OF ILLUSTRATION.
imprinted horizontally, some vertically, some
diagonally, some in dots, and some with lines of
several kinds, one under the other, so that the
artist can get the tint required by scraping out.
Drawings thus made can be reproduced in
relief like line drawings, taking care not to reduce
a fine black grain too much or it will become
"spotty" in reproduction.
This drawing and the one opposite by Mr. Hume
Nisbet show the skilful use of paper with vertical
and horizontal black lines ; also, in the latter draw-
ing, the different qualities of strength in the sky,
and the method of working over the grained paper
in pen and ink.
No. XV IT.
*' TWILIGHT.** (SI'ECIMEN OF DI.ACK-r.RAINED rAPBR.)
{From "Lessons in Att" hy Hume Nistet^/ubiishetf ly Chattel Windus,)
( 1 16 )
No. XVIII.
"Z^ Dent dii Gcant^' by E. T. Compton.
Another skilful use of the black -grained paper to represent
snow, glacier, and drifting clouds. The original tone of the
paper may be seen in the sky and foreground.
' LE DENT DU G^ANT." (frOM THE PAINTING BY E. T. COMPTON.)
The effect is obtained by scraping out the lighter parts on
the paper and strengthening the dark with pen and pencil.
It is interesting to compare the two blocks made from the
same drawing. (Size of drawing 74X4 in.)
uS )
No. XIX.
Landscape, by A. M. Lindstro.m.
Example of bold effect by scraping out on the
black-lined paper, and free use of autographic chalk
This drawing shows, I think, the artistic limitations
of this process in the hands of an experienced
draughtsman.
The original drawing by Mr- Lindstrom (from his
painting in the Royal Academy) was the same size
as the reproduction.
No. XIX.
CRArxr.l) PAPERS. I2t
Other papers largely used ior illustration in the
type press have a ivhite grain, a good specimen of
which is on page 123 ; and there are variations of
these white-grained papers, of which what is known
in France as allonge paper is one of the best for
rough sketches in books and newspapers.
The question may arise in many minds, are these
contrivances with their mechanical lines for pro-
ducing effect, worthy of the time and attention
which has been bestowed upon them ? 1 think it is
very doubtful if much work ought to be producetl
by means of the black-grained papers ; certainly, in
the hands of the unskilled, the results would prove
disastrous. A painter may use them for sketches,
especially for landscape. Mr. Compton (as on p. i 1 6)
can e.xpress very rapidly and effectively, by scrajjing
out the lights and strengthening the darks, a snow-
drift or the surface of a glacier. In the drawing
on page 123, Mr. C. J. Watson has shown us how
the grained paper can be played with, in artistic
hands, to give the effect of a picture.
The difference, artistically speaking, between
sketches made on black-grained and white-grained
papers seems to me much in favour of the latter.
But at the best, blocks made from drawings on
these papers are apt to be unequal, and do not
( 122 )
No. XX.
"Vo/cndam,'' by C. J. Watson.
Example of white-lined paper, treated very
skilfully and effectively — only the painter of the
picture could have given so much breadth and
truth of effect.
This 2vhiie pai)er has a strong vertical grain which
when drawn upon with autographic chalk has the
same appearance as black-lined pa[)er; and is often
taken for it.
(Size of drawing 6 x 4^ in.)
n
No. XX.
GRAINED PAPERS.
125
print with the ease and certainty of pure line work ;
thc;y require g-Qod paper and careful printing, which
is not al\va)s to be obtained. The artist who
" AND WEE PEERIE
FOR A*," (from the I'AINTINC BV Ht'CH CAMERON.)
Example 0/ a good chalk drawing too largely reduced.
draws for the processes in this country must not
expect (excepting in very exceptional cases) to
have his work reproduced and printed as in
America, or even as well as in this book.
( 126
No. XXI.
"An Arrcsf," by jNIeltom Prior.
This is a remarkable example of the reproduction
of a pencil drawing. It is seldom that the soft grey
efifecl of a pencil drawing can be obtained on a
"half-tone" relief block, or the lights so successfully
preserved.
This is only a portion of a picture by Mr. Melton
Trior, the well-known special aitist, for which I am
indebted to the proprietors of Skctc/i.
The reproduction is by Carl Hentschcl.
^iff
No. XXI.
128 THE ART OF ILLUSTRATION.
The reproduction on the previous page owes
its success not only to good process, paper, and
printing, but also to the firm, decisive touch of an
experienced illustrator like Mr. Melton Prior. A
pencil drawing in less skilful hands is apt to "go to
pieces " on the press.
Mr. C. G. Harper, in his excellent book on
English Pen Artists, has treated of other ways
in which drawings on prepared papers may be
manipulated for the type press ; but not always
with success. In that interesting publication,
The Sttidio, there have appeared during the past
year many valuable papers on this subject, but
in which the mechanism of illustration is perhaps
too much insisted on. Some of the examples
of "mixed drawings," and of chalk-and-pencil
reproductions, might well deter any artist from
adopting such aids to illustration.
The fact is, that the use of grained papers is, at
the best, a makeshift and a degradation of the art of
illustration, if judged by the old standards. It will
be a bad day for the art of England when these
mechanical appliances are put into the hands of
young students in art schools.
For the purposes of ordinary illustrations we
should keep to the simpler method of line. All
LIKE PROCESS.
these contrivances require great care in printing,
and the blocks have often to be worked u[) by an
engraver. T/ic viatcrial of the process blocks is
iinsuitcd to the purpose. In a liandbook to students
of illustration this requires repeating on nearly
every page.
As a contrast to the foregoing, let us look at
a sketch in pure line by the landscape painter,
Mr. M. R. Corbet, who, with little more than a
scribble of the pen, can express the feeling of
sunrise and the still air amonorst the trees.
4^
/, y U /^
"bUNKISE IN THB SEVERN VALLKY." (.MATTHEW R. COKBET.)
THE ART OF ILLUSTRATION.
MECHANICAL DOTS.
Amongst the modern inventions for helping the
hurried or feeble iUustrator, is the system of laying
on mechanical dots to give shadow and colour to
a pure line drawing, by process. It is a practice
always to be regretted ; whether applied to a
necessarily hasty newsjxiper sketch, or to one of
Daniel Vierge's elaborately printed illustrations in
the Pablo de Segovia. One cannot condemn too
strongly this system, so freely used in continental
illustrated sheets, but which, in the most skill ul
hands, seems a degradation of the art of illustration.
These dots and lines, used for shadow, or tone,
are laid upon the plate by the maker of the block,
the artist indicating, by a blue pencil mark, the
parts of a drawing to be so manipulated ; and as
the illustrator lias not seen the effect on his oivn
line drawing, the results are often a surprise to
everyone concerned. I wish these ingenious
contrivances were more worthy of an artist's
attention.
On the opposite page is an example taken from
an English magazine, by which it may be seen
that all daylight has been taken ruthlessly from the
principal figure, and that it is no longer in tone
with the rest of the picture, as an open air sketch.
^■a'/"" '^H/*
U:yL
*'th:: adjutant's love story." (h. k. millak.)
{^ExatiipU of nttchahiaxi gntiu.)
No. XXII.
132 THE ART OF ILLUSTRATIOX.
The system is tempting to the hurried ihustrator;
he has only to draw in Hne (or outline, which is
worse) and then mark where the tint is to appear,
and the dots are laid on by the maker of the blocks.
In the illustration on the last page (I have chosen
an example of fine-grain dots ; those used in news-
papers and common prints are much more unsightly,
as everyone knows), it is obvious that the artist's
sketch is injured by this treatment, that, in fact,
the result is not artistic at all. Nothing but
high pressure or incompetence on the jjart of
the illustrator can excuse this mechanical addition
to an incomplete drawing ; and it must be
remembered that these inartistic results are not
the fault of the process, or of the "process man."
But the system is growing in every direction, to
save time and trouble, and is lowering the standard
of topical illustrations. And it is this system {Jiitcr
alia) which is taught in technical schools, where the
knowledge of process is taking the jjlace of wood
enyravintr.
The question is again uppermost in the mind,
are such mechanical appliances ("dodges," I ven-
ture to call them) worthy the serious attention of
artists ; and can any good arise by imparting such
knowledge to youthlul illustrators in technical
LINE PROCESS. 133
schools ? \\\)od engraving was a craft to be
learned, with a career for the apprentice. There is
no similar career for a lad by Icamii/o- Ike
"'processes;" and nothing bid disappointment before
him if he learns the mechanism before he is an
educated and qualified artist.
Mention should be made here (although I do not
wish to dwell upon it) of drawing in line on
prepared transfer pap^jr with autographic ink, which
is transferred to zinc without the aid of jjhoto-
graphy, a process very useful for rapid and
common work ; but it is seldom used for good
book illustration, as it is irksome to the artist and
not capable of very good results ; moreover, the
drawing has often to be minute, as the reproduction
will be the same size as the original. It is one
of the processes which I think the student of art
had better not know much about.*
1 hat it is possible, by the common processes, to
obtain strong effects almost equal to engraving,
* The young artist would be much better occupied in learning
draiving on stone direct, a branch of art which does not come
into the scope of this book, as it is seldom used in book
illustration, and cannot be printed at the type press. Drawing
on stone is well worthy of study now, for the irt is being revived
in England on account of the greater facilities for printing than
formerly.
134 THE ART OF ILLUSTRATION.
may be seen in some process illustrations by
Mr. Lancelot Speed, in whicli many technical
experiments have been made, including the free
use ot white lining.
Mr. Speed is very daring in his exprTiments, and
stmlents ma)' well puzzle (>\er the means b)' which
he obtains his effects by tlic line ijrocesses.
The illustration opposite from Andrew Lang's
Blue Poetry Book, shows a very ingenious treat-
ment of the black-lined papers. Technically it is
one of the best e.xamples I know of,— the result of
much study and exjjeriment.
Ait,ir,w Land's "Blue Poetry Book." vLancelot speed.)
No. XXIII.
( 136 )
No. XXIV.
" The Armada^' by Lancelot Speed.
This extraordinary example of line drawing for
process was taken from Andrew Lang's Blue Poetry
Book, published by Messrs. Longmans.
Li this illustration no wash has been used, nor
has there been any " screening " or engraving on
the block. The methods of lining are, of course, to
a great extent the artist's own invention. This
illustration and the two jireceding lead to the con-
clusion that there is yet much to learn in drawuig
for process by those who will study it. The
achievements of the makeri of the blocks, with
difficult drawings to reproduce, is quite another
matter. Here all is easy for the reproducer, the
common zinc process only being employed, and the
required effects obtained wiihout much worrjiiig of
the printer, or of the maker of the blocks.
Thus far a'l the illustrations in this book have
been produced by the common line process.
No XXIV,
138
THE ART OF ILLUSTRATION
" HALF-TONE " PROCESS.
The next process to consider is the method of
reproducing wash drawings and photographs on
blocks suitable for printing at the type press, com-
monly known as the Meisenbach or " half-tone
process ; " a most ingenious and valuable invention,
which, in clever hands, is capable of artistic results,
but which in common use has cast a gloom over
illustrations in books and newspapers.
First, as to the method of making the blocks.
As there are no lines in a wash drawing or in a
photograph from nature, it is necessary to obtain
some kind of grain, or interstices of white, on the
HALF-TONE PROCESS
139
zinc plate, as in a mezzotint ; so between the drawing
or photograph to be reproduced and the camera,
glass screens, covered with lines or dots, are inter-
posed, varying in strength according to the light
THERE IS THE I'RIORV
and shade required ; thus turning the image of the
wash drawing practically into "line," with sufficient
interstices of white for printing purposes.
!4o THE ART OF ILLUSTRATION.
Thus, all drawings in wash, chalk, pencil, etc.,
that will not reproduce by the direct line processes,
already referred to, are treated for printing at the
type press ; and thus the uniform, monotonous
dulness, with which we are all familiar, pervades the
page.
The conditions of drawing for this process have
to be caret ully studied, to prevent the meaningless
smears and blotches (the result generally of making
too hasty sketches in wash) which disfigure nearly
every magazine and newspaper we take up. There
is no necessity for this degradation of illustration.
The artist who draws in wash with body colour,
or paints in oils in monochrome, for this process,
soon learns that his high lights will be lost and
his strongest effects neutralised, under this effect of
gauze ; and so for pictorial purposes he has X.o force
/lis ejfict and exaggerate lights and shades; avoiding
too delicate gradations, and in his different tones
keeping, so to speak, to one octave instead of two.
Thus, also for this process, to obtain brightness and
cheap effect, the illustrator of to-day often avoids
backgrounds altogether.
In spite of the uncertainty of this system of
reproduction, it has great attractions for the skilful
or the hurried illustrator.
Jf^&^fhA
No. XXV.
' HciRa rode without a saddle as if she had grown to her horso— ;>t/ull speed.'
t a saddle as if she had grown to her horse— at/idl sp
("//.!/« Aiideneni Fairy ra/cs:) /
142 )
No. XXVI.
^'■Thc S/orks,'" by J. R. Weguelin.
" And high through the air came the first stork and the
second stork ; a jiretty child sat on the back of each.''
Exam]ile of lialf-tone process applied to a slight
wash drawing. The illustration is much relieved by
vignetting and /caving out : almost the only chance
for effect that the artist has by the screened process.
It suggests, as so many of the illustrations in this
book do, not the limits but the scope and possibilities
of process work for books.
This and the [ircccding illustration by Mr.
Weguelin are taken from Hans Andcrscui Fairy
Talcs (Lawrence \- jjullcn, 1S93).
No. XXVI.
THE ART OF ILLUSTRATION.
That this "half-tone" process is susceptible of
a variety of effects and results, good and bad, every
reader must be aware.
The illustrations in this book, from jjages 138 to
165, are all practically by the same process of
"screening," a slight difference only in the grain
being discernible.
The wash drawing on page 139 suffers by the
coarse grain on it, but the values, it will be seen,
are fairly well preserved. The lights which are
out of tone appear to have been taken out on the
plate by the maker of the block, a dangerous
proceeding with figures on a small scale. Mr. Louis
Grier's clever sketch of his picture in wash, at the
head of this chapter, gives the effect well.
Mr. Weguelin's illustrations to Hans Aiidcrscii s
Fairy Talcs have been, I understand, a great
success, the public caring more lor the spirit of
poetry that breathes through them than for more
finished drawings. This is delightful, and as it
should be, although, technicalh', the artist has not
considered his process enough, and trom the
educational point of view it has its dangers. The
"process" has been blamed roundly, in one or two
criticisms of Mr. Weguelin's illustrations, whereas
the process 7tscd is tlie same as on pa^rs 149 and 157.
HALF-TOXE PROCESS.
However, the effect on a wash drawing is not
satisfactory in the best hands. So uncertain and
gloomy are the results that several well-known
illustrators decline to use it as a substitute for wood
engraving. We shall have to inii)rove considerably
before wood engraving is abandoned. We are
improving every day, and by this half-tone process
numberless wash drawings and photographs from
nature are now presented to the public in our
daily prints.
Great advances have been made lately in the
"screening" of pencil drawings, and in taking out
the lights of a sketch (as pointed out on page
127), and results have been obtained by carelul
draughtsmen during the last si.x months which a
year ago would have been considered impossible.
These results have been obtained principally by
gooel printing and jiaper — allowing of a fine grain
on the block — but where the illustration has to be
prepared for printing, say 5,000 an hour, off rotary
machines, a coarser grain has to be used, producing
the " Berlin wool pattern " eftect on the page,
with which we are all familiar in newspapers.
Let us now look at two examples of wash
drawing by process, lent by the proprietors of
Black and IV/iiic.
( 146 )
No. XXVII.
This is a good average example of what to expect
by the halftone process from a wash drawing. That
the result is tame and monotonous is no fault of the
artist, whose work could have been more brightly
rendered by wood engraving.
That " it is better to have this process than bad
wood engraving " is the opinion of nearly all illus-
trators of to-day. The artist sdds his on'ii ivork, at
any rate, if through a veil of fog and gloom which is
meant for sunshine !
But the time is coming when the pubUc will
hardly rest content with such results as these.
No. XXVII.
( 148
No. XXVIII.
lUuslration from " B/ack and U'hi/e," by
G. G. Manton.
This is a good example of wash drawing for
process ; that is to say, a good example from the
"process man's" point of view.
Here the artist has used his utmost endeavours
to meet the process half-way ; he has been careful
to use broad, clear, firm washes, and has done them
with certainty of hand, the result of experience. If,
in the endeavour to get strength, and the best results
out of a few tones, the work lacks some arlislic
qualities, it is almost a necessity.
Mr. Manton has a peculiar method of lining, or
stippling, over his wash work, which lends itself
admirably for reproduction ; but the practice can
hardly be recommended to the attention of students.
It is as difficult to achieve artistic results by these
means, as in the combination of line and chalk in
one drawing, advocated by some ex])erts.
At the same time, Mr. Manton's indication of
surfaces and textures by process are both interesting
and valuable.
No. XXVIII.
( I50 )
'a sunny land." (from the painting by GEORGE WETHERCEE.)
{Netu Gallery^ 1S91.)
DECORATIVE DESIGN BY RANDOLPH CALDECOTT.
One of the many uses which artists may make of
the half-tone process is suggested by the reproduc-
tion of one of Mr. Caldecott's decorative designs,
drawn freely with a brush full of white, on brown
paper on a large scale (sometimes two or even
three feet long), and reduced as above ; the
reduction refining and improving the design.
This is a most legitimate and practical use of
"process" for illustrating books, architectural and
others, which in artistic hands might well be further
developed.
(Tlie above design, from the Memoir of A'. CalJccotl^ is lent by
Messrs. Sampson Low & Co.)
THE ART OF ILLUSTRATION.
Of the illustrators who use this process in a more
free-and-easy way we will now take an example, cut
out of the pages of Sketch [see overleaf p. [55).
Here truths of light and shade are disregarded,
the figure stands out in unnatural darkness against
white paper, and flat mechanical shadows are cast
upon nothing. Only sheer ability on the part of a
few modern illustrators has saved these coarse un-
gainly sketches from universal condemnation. But
the splashes, and spots, and stains, which are taking
the place of more serious work in illustration, have
become a vogue in 1894. '^'le sketch is made in
two or three hours, instead of a week ; the process
is also much cheaper to the publisher than wood
engraving, and the public seems satisfied with a
sketch where formerly a finished illustration was
required, if the subject be treated dramatically and
in a lively manner. If the sketch comes out an un-
sightly smear on the page, it at least answers the
purpose of topical illustration, and apparently suits
the times. It is little short of a revolution in
illustration, of which we do not yet see the end.*
* The evil of it is that we are becoming used to black blots in
the pages of books and newspapers, and take them as a matter of
course ; j'.ist as we submit to the deformity of the outward man
in the matter of clothing.
HALF-TOXK PROCESS. 153
The bookstalls are laden with the daring achieve-
ments of Phil May, Raven Hill, Dudley Hardy,
and others, but it is not the object of this book to
exhibit the works of genius, either for emulation or
imitation. It is rather to sug-gest to the average
student what he may legitimately attempt, and to
show him the possibilities of the process block in
different hands. It may be said, without disparage-
ment of the numerous clever and experienced
illustrators of the day, that they are only adapting
themselves to the circumstances of the time. There
is a theory— the truth ol which I do not cpicstion —
that the reproductions ol rapid sketches from the
living model by the hall-tone process have more
vitality and freedom, more feeling and artistic
qu.alities thim can be obtainc^d b)' an\' other means.
But the young illustrator should hesitate before
adapting these methods, and should never have
a)iything rcprcdiiccd for pJiblication icliich was
'" draiun to lime'' in art classes.
One thing cannot be repeated too often in this
connection : that the hastily produced blotches
called " illustrations," which disfigure the pages of
so many books and magazines, are generally the
result of want of cart; on the part of the artist
rather th.in of the maker of the blocks.
( 154 )
No. XXIX.
This is part of a page illustration lent by the
pro]irietor3 of Skctih. It does not do justice to the
talent (or the taste, we will hope), of the illustrator,
and is only inserted here to record the kind of work
which is popular in 1S94. (Perhaps in a second
edition we may have other exploits of genius to
record.)
It should be noted that this and the illustration
on p. 149 are both reproduced by the same half-
tone process, the difference of result being altogether
in the handling of the brush. This sketch would
have been intolerable in less artistic hands. Artists
will doubtless find more feeling and expression in
the broad washes and splashes before us, than in tlie
most careful stippling of Mr. Manton.
Students of wash drawing for process may take
a middle course.
No. XXIX.,
THE ART OF ILLUSTRATION.
A word here on the influence of
PROCESS-BLOCK MAKERS
on the youn^- illustrator. The " process man, " the
teacher and inciter to achievements by this or that
process, is not usually an " artist " in the true sense
of the word. He knows better than anyone else
what lines he can reproduce, and especially what
kind of drawing is best adapted for his own process.
He will probably tell the young draughtsman what
materials to use, what amount of reduction his
drawings will bear, and other things of a purely
technical not to say businesslike character. Let me
not be understood to disparage the work of photo-
engravers and others engaged on the.se processes ;
on the contrary, the amount of patience, industrv,
activit}-, and anxious care bestowed ujjon the
reproduction of drawings and paintings is astonish-
ing, and deserves our gratitude.* This work is a
new industry of an important kind, in which art and
cratt are bound up together. The day has past
when "process work" is to be looked down upon
as only fit for the cheapest, most inferior, and
inartistic results.
* On the opposite page is an excellent reproduction of a
painting from a photograpli hy the half-tone process.
HALF-TOXE PROCESS.
piioto(;k.M'Uic illustkatioxs.
One result of hasty work in makintj; ilrawincjs, and
the uncertainty of reproduction, promises to be a
very serious one to the ilkistrator, as far as we can
see ahead, viz. : the grackial substitution of photo-
graphs from life for other forms of illustration.
The "I\Ieisenbach"reprodnction of a photograph from
life, say a full length figure of an actress in some
elaborate costume, seems to answer the purpose of
the editor of a newspaper to fill a page, where
formerly artists and engravers would have been
employed. One reason for this is that the details
of the dress are so well rendered b\- photography on
158 THE ART OF ILLUSTRATION.
the block as to answer the purpose of a fashion
plate, an imi)()rt;int matter in some weekly news-
papers. The result is generally unsatisfactory from
an artist's point of view, but the picture is often
most skilfully composed and the values wonderfully
rendered, direct from the original.
In the case of the reproduction of photographs,
which we are now considering, much may be done
by working up a platinotype print before giving it
out to be made into a block. Much depends here
upon the artistic knowledge of editors and publishers,
who have it in their power to have produced good
or bad illustrations from the same original. The
makers of the blocks being confined to time and
price, are practically powerless, and seldom have
an opportunity of obtaining the best results. It
should be mentioned that blocks made from wash
drawings, being shallower than those made from
line drawings, sutler more from bad printing and
paper.
A good silver print (whether from a piiotograph
from life or from a picture), full of delicate gra-
dations and strong effects, appears on the plate
through the film of gauze, dull, flat, and com-
paratively uninteresting ; but the expression of the
original is given tvith more Jidclify than could be
HALF-TONE PROCESS. 159
done by any ordinary wood engraving. This is the
best that can be said tor it, it is a dull, mechanical
process, requiring help from the maker of the blocks ;
and so a system of touching on the negative (before
making the block) to bring out the lights and accents
of the picture is the common practice. This is a
hazardous business at the best, especially when deal-
ing with the copy of a painting. I mention it to
show where "handwork" in the half-tone process
first comes in. The block, when made, is also often
touched up by an engraver in places, especially where
spotty or too dark; and on this work many who were
formerly wood-engravers now find employment.
There is no doubt that the makers of process
blocks are the best instructors as to the results
to be obtained by certain lines and combinations
of lines ; but in the majority of cases they will tell
the artist too muih, ,uk1 lead him to take loo much
interest in the mechanical side ol the business.
The illustrator's best protection against this tendency,
his whole armour and coat cjt mail, is to be an artist
first and an illtistrator afterioards.
This is the sum of the matter. Perhaps some
of the examples in this book may help us, and lead
to a more thorough testing of results by cai)able
men.
i6o THE ART OF ILLUSTRATION.
" SKETCH."
It will be interesting here to consider tlie material
of which one number of an illustrated paper {Sketch)
is made up, and how far the artist and wood engraver
have part in it. From an economic point of view it
will be instructive. I take this "newspaper" as an
example, because it is a typical and quite "up-to-date"
publication, vicing, in circulation and importance,
with the Illnsfratcd Loudon Ncios, both published
by the same proprietors. In one number there are
upwards of 30 pages, 10 being advertisements. There
are in all 1 5 1 illustrations, of which 63 appear in
the te.xt part, and 88 in the advertisement pages.
Out of the text illustrations, 24 only are from
original drawings or sketches. Next are 26 plioto-
graphs from life (several being full pages), and 13
reproductions from engravings, etc., reproduced
by mechanical processes — in all 63. Some of the
pages reproduced from photographs are undeniably
good, and interesting to the public, as is evidenced
by the popularity of this i)aper alone. In the
advertisement portion are 88 illustrations (including
many small ones), 85 of which have been engraved
on wood ; a number of them are electrotypes from
old blocks, but there are many new ones every
week. The reason for usinij wood eneravinrr
No. XXX.
MI^S KATE RORKE. (FROM "SKETCH."}
F'loto^raphed from life bv H, S. Mendeissckn. Reproduced by half-tone process )
^\0 H A Hy"
UNIVERSITY
HALF-TOXE PROCESS. 163
largely tor advertisements is, that wood l)locks print
more easily than " process," when mixed with the-
type, and print better (being cut deeper on the
block) where inferior paper and ink are employed.
But this class of wood engraving may be summed
up in the words of one of the craft to nn; lately : —
" It is not worth £2 a week to anybody."
Thus it will be seen that in the "text" part of
this newspaper two-thirds of the illustrations are pro-
duced without the aid of artist or wood engraver !
To turn to one of the latest Instances where the
photographer Is the illustrator. A -photographer,
Mr. Burrows, of Camborne, goes down a lead mine
in Cornwall with his apparatus, and takes a series
of views of the workings, which could probably
have been done by no other means. Under most
difficult conditions he sets his camera, and by the
aid of the magnesium " tlash-light," gives us groups
of figures at work amidst gloomy and weird sur-
roundings. The results are exceptionally valuable
as " illustrations" in the true meaning of the word,
on account of the clear and accurate definition of
details. The remarkable part, artistically. Is the
good colour and grouping of the figures.*
* " 'Mongst Mines and Miners" by J. C. liurrows and
W. Thomas. (London : Simpkin, Marshall &: Co.)
i64 THE ART OF ILLVSTRATIOX.
Another instance of the use of photography in
iUustration. Mr. Villiers, the special artist of Black
and White, made a starthng statement lately. He
said that out of some i 50 subjects which he took at
the Chicago Exhibition, not more than half-a-dozen
were drawn by him ; all the rest being "snap-shot "
photographs. Some were very good, could hardly
be better, the result of many hours' waiting for the
fivourable grouping of figures. That he would
re-draw some of them with his clever pencil for a
newspaper is possible, but observe the part photo-
graphy plays in the matter.
In America novels have been thus illustrated
both in figure and landscape ; the weak point being
the backgrounds to the figure subjects. I draw
attention to this movement because the neglect of
composition, of appropriate backgrounds, and of the
true lighting of the figures by so many young
artists, is throwing illustrations more and more into
the hands of the photographer. Thus the rapid
" pen-and-ink artist," and the sketcher in wash from
an artificially lighted model in a crowded art school,
is hastening to his end.
The time is coming fast when cheap editions of
popular novels will be illustrated — and many in tlie
following way. The artist, instead of being called
No. XXXI.
(./ Photograph from li/c, l,y Mcsin. Camcrm &• Smith. KrtroduccJ by half-tone froctst.)
HALF-TONE PROCESS. 167
upon to draw, will occupy himself in setting and
composin<j^ pictures through the aid of models
trained for the purpose, and the ever-ready jjhoto-
grapher. The "process man" and the clever manipu-
lator on the plates, will do the rest, producing pictures
vignetted, if desired, as overleaf Much more the
makers of blocks can do — and will do — with the
photographs now produced, for they are earnest, un-
tiring, ready to make sacritices of time and money.
The cheap dramatic illustrations, just referred to,
which artists' models in America know so well how
to pose for, may be found suitable from the com-
mercial point of view for novels of the butterlly
kind ; but they will seldom be of real artistic interest.
And here, for the present, we may draw the line
between the illustrator and the i^hotographer. But
the •• black and white man " will obviously have to
do his best in every branch of illustration to hold his
own in the future. It may be thought by some artists
that these things are hardly worth consideration ;
but we have only to watch the illustrations appear-
ing week by week to see whither we are tending.*
• Both Mr. Cameron's and Mr. Mendelssohn's [thotographs
have had to be sHghtly cut down to fit these pages. But as
illustralions they are, I think, remarkable examples of the
photographer's and the [)hoto-engraver's art.
THE ART OF ILLUSTRATION.
The last example of the photographer as
illustrator, which can be given here, is where a
photograph from life engraved on wood is published
as a vignette illustration.® It is worth observing,
because it has been turned into line by the wood
engraver, and serves for printing purposes as a
popular illustration. The original might have been
more artistically posed, but it is pretty as a vignette,
and pleases the pulilic. [Sec opposite page.)
1 here are hundreds of such subjects now pro-
duced by the joint aid of the photographer and the
process engraver. It is not the artist and the wood
engraver who are really "working hand-in-hand"
m these days in the production of illustrations, but
the photographer and the maker of process blocks.
I his is significant. Hajjpily for us there is much
that the photographer cannot do pictorially. lUit
the photographer is, as I said, marching on and
on, and the line of demarcation between handwork
and phot(jgraphic illuslnilions becomes less marked
every day.
The photographer's daughter goes to an art
school, and her inlluence is shown annually in
the exhibitions of the photographic societies.
* From the Graphic newspaper, 28th October, 1893.
No. XXXII.
(A Photograph from ll/e, engraved on wood.)
I70 THE ART OF ILLUSTRATION.
This influence and this movement is so strong —
and vital to the artist —that it cannot be emphasised
too much. The photographer is ever in our
midst, correcting our drawing with lacts and
details which no human eye can see, and no one
mind can take in at once.
On the obligations of artists to photographers
a book might be written. The benefits are not,
as a rule, unacknowledged ; nor are the bad
influences of photography always noticed. That
is to say, that before the days of [jhotngraphy,
the artist made himself acquainted with many
things necessary to his art. for which he now
depends upon the photographic lens ; in short,
he uses his powers of observation less than he
did a few years ago. That the photographer
leads him astray sometimes is another thing to
remember.
The future of the illustrator being uppermost in
our thoughts, let us consider further the influences
with which he is surrounded. As to photography,
Mr. William .Snicdl, the well-known illustrator (who
always draws for wood engraving), savs : — " it will
never take good work out of a good artist's hands. "
He speaks as an artist who has taken to illustration
seriously and most successfulh , having devoted the
THE ILLVSTRATOR. 171
best years of his life to its development. The moral
of it is, that in whatever material or style newspaper
illListratii)ns are done, to hold llieir own they must
be of the best. Let them be as slight as you please,
if they be original and good. In line work (the best
and surest lor the processes) photography can only
be the servant of the artist, not the competitor —
and in this direction there is much employment to
be looked for. At present the influence is very
much the other way ; we are casting off — ungrate-
fully it would seem — the experience of the lifetime
of the wood engraver, and are setting in its place an
art half developed, half studied, full of crudities and
discords. The illustrations which succeed in books
and newspapers, succeed for the most part from
sheer ability on the part of the artist ; titcy are full
of ability, but, as a rule, are bad exami)les for
students to copy. " Time is nn)ney " with these
brilliant executants ; they have no time to study the
value of a line, nor the requirements of the prt)-
cesses. and so a number of drawings are handed
to the photo-engravers — which are often quite un-
fitted ior mechanical reproduction — to be produced
literally in a lew hours. It is an age of vivacity,
daring originality, and reckless achievement in
illustration. " Take it up, look at it, and throw it
172 THE ART OF ILLUSTRATION.
down," is the order of the day. There is no reason
but an economic one why the worls done "to look at"
should not be as good as the artist can afford to
make it. The manufacturer of paperhangings or
printed cottons will produce only a limited quantity
of one design, no matter how beautiful, and then go
on to another. So much the better for the designer,
who would not keep employment if he did not do
his best, no matter whether his work was to last for
a day or for a year. The life of a single number of
an illustrated newspaper is a week, and of an illus-
trated book about a year.
The young illustrators on the Daily Graphic — ■
notably Mr. Reginald Cleaver — (jbtain the maximum
of effect with the minimum of lines. Thus
Caldecott worked, spending hours sometimes study-
insr the art of leavincj out. Charles Keene's
example may well be followed, making drawing'after
drawing, no matter how tri\ ial the subject, until he
was satisfied that it was right. " Either right or
wrong," he used to say ; " ' right enough ' will n<.it
do tor me."
.\nother intluencc on modern illustration — for
good or bad — is the electric light. It enables the
photographic operator to be independent of dark
and foggy days, and to put a search-light upon
'\ /
No. XXXIII.
"PROUD MAIRIE." (LANCELOT SIEF.D.)
(From " The Blue Poetry Book." Louilon: Longmnm.)
Pen-and-ink drawing by line process;
174 THE ART OF ILLUSTRATION.
objects which otherwise could not be utih.sed. So
far good. To the ilkistrator this aid is often a
doubtful advantage. The late Charles Keene (with
whom I have had many conversations on this
subject) predicted a general deterioration in the
quality of illustrations from what he called " un-
natural and impossible effects," and he made one or
two illustrations in Piiuc/i of figures seen under the
then — (lo or 15 years ago) — novel conditions of
electric street lighting, one of which represented
a man who has been "dining" returning home
through a street lighted up by electric lamps, tuck-
ing up his trowsers to cross a black shadow which
he takes for a stream. Charles Keene's predictions
have come true, we see the glare of the magnesium
light on many a page, and the unthinking public is
dazzled every week in the illustrated sheets with
these "unnatural and impossible effects."
Thus it has come about that what was looked
upon by Charles Keene as garish, exaggerated, and
untrue in effect, is accepted to-day by the majority
of people as a lively and legitimate method of
illustration.
LINE PROCESS. 175
DANIKL VIKR(;K.
One of the influences on the modern illustrator —
a decidedly adverse influence on the unlearned — is
the pnjininence which has lately been given to the
art of Daniel Vierge.
There is probably no illustrator of to-day who
has more originality, style, and versatility — in short
more genius — than \' ierge, and none whose work,
for practical reasons, is more misleading to students.
As to his illustrations, from the purely literary
and imaginative side, they are as attractive to the
scholar as drawings by Holbein or Menzell are to
the artist. Let us turn to the illustration on the
next page, from the Pablo dc Segovia by Ouevedo ;
an example selected by the editor, or publisher,
of the book as a specimen page.
First, as to the art of it. Nothing in its own
way could be more fascinating in humour, vivacity,
and character than this grotesque duel with long
ladles at the entrance to an old Spanish po.sada.
The sparkle and vivacity of the scene are inimitable;
the bounding figure haunts the memory with its
diaphanous grace, touched in by a master ot
expression in line In sliDrl. \\r arc in the [)resence
of ofcnius.
( 176 )
No. XXXIV.
Example of Daniel \'ierge's illustrations to
Pablo de Segovia, the Spanish Sharper, by Francisco
de Quevedo-Villegas, first imblished in Paris, in
1882 ; afterwards translated into English (with an
Essay on Quevedo, by H. E. Watts, and comments
on Vierge's work by Joseph Pennell), and published
by Mr. T. Fisher Unwin, in 1S92.
Yierge was born in 185 1, and educated in Madrid,
where lie spent the early years of his life. Since
1869 he has lived in Paris, and produced numerous
illustrations for Le Monde lllustii and La Vie Moderiie,
and other works. His fame was made in 1882 by
Quevedo's .f(7/'/i? de Segovia, the illustrations to which
he was unable to complete owing to illness and
paralysis. About twenty of these illustrations were
drawn with the left hand, owing to paralysis of the
right side. His career, full of romantic interest,
suggests the future illustrator of Don Quixote.
These drawings were made upon white paper—
Bristol board or drawdng paper — with a pen and
Indian ink ; but Vierge now uses a glass pen, like an
old stylus. The drawings were then giren to Gillot,
the photo-engraver of Paris, who, by means o(
photography and Iiandwork, [iroduccd metal blocks
to be printed with the tyjie.
«$r*
->/
^
^^
V,
fc<~
— •■
^-^ >
1
» Is ^
-^1
— * ~V
No. XXXIV.
LINE PROCESS. 179
But the whole effect is obviously untrue to nature,
and the tricks — of black spots, of exao-crcrated
shadows on the ground, of scratchings (and of care-
lessness, which might be excused in a hasty sketch
for La Vie Modcnic) — are only too apparent.
In nearly every illustration in the Pablo dc Scgoina
(of which there are upwards of one hundred),
the artist has relied for brilliancy and effect on
patches of black (sometimes ludicrously exaggerated)
and other mannerisms, which we accejjt from a
genius, but which the student had better not
attempt to imitate. To quote a criticism from the
Spectator, " There is almost no light and shade in
Vierge. There is an ingenious effect of dazzle, but
there is no approach attempted to truth of tone,
shadows being quite capriciously used for decoration
and supplied to figures that tell as light objects
against the sky which throws the shadows." And
yet m these handsome pages there are gems of
draughtsmanship and extraordinary tours de force
in illustration.
In the reproduction of these drawings, I think
the maker of the blocks, M. Gillot, of Paris, would
seem to have had a difficult task to perform.
The fact is, that Vierge's wonderful line drawings
are sometimes as difficult tu reproduce for the
I So THE ART OF ILLUSTRATION.
type press as those of Holbein or Menzell, and
could only be done satisfactorily by one of the
intaglio processes, such as that employed by the
Autotype Company in editions de luxe. That
Vierge's drawings were worthy of this anyone who
saw the originals when exhibited at Barnard's Inn
would, I think, agree.
It is the duty of any writer or instructor in
illustration, to point out these things, once for all.
That Vierge could adapt himself to almost any
process if he pleased, is demonstrated repeatedly in
\\\<^Pablo de Segovia, where (as on pages 63 and 67
of that book) the brilliancy and "colour" of pure
line by process has hardly ever been equalled. That
some of his illustrations are impossible to reproduce
well, and have been degraded in the process is also
demonstrated on page 199 of the same book, where
a mechanical grain has been used to help out the
drawing, and the lines have had to be cut up and "rou-
letted" on the block to make them possible to print.
Of the clever band of illustrators of to-day who
owe much of their inspiration (and some of their
tricks of method) to Vierge, it is not necessary to
speak here ; we are in an atmosphere of genius in
this chapter, and geniuses are seldom safe guides to
students of art.
LINE PROCESS.
Speaking generally (and these remarks refer to
editors and publishers as well as draughtsmen), the
art of illustration as practised in England is far from
satisfactory ; we are too much given to imitating
the tricks and prettinesses of other nations, and
it is quite the exception to find either originality or
individuality on the pages which are hurled from
the modern printing press ; individuality as seen
in the work of Adolphe Menzell, and, in a different
s[)irit, in that of Gustave Dore and Vierge.
CHAPTER Y.
WOOD ENGRAVINGS.
O turn to ;i more practical side of book
illustration. The first principle of
illustration is to illustrate, and yet it is
a fact that few illustrations in books or
magazines are to be found in their proper places in
the text.
It is seldom that the illustration (.so called) is in
artistic harmony with the rest of the page, as it
is found in old books. One of the great charms
of Bewick's work is its individuality and expressive
character. Here the artist and engraver were one,
and a system of illustration was founded in England
a hundred years ago which we should do well not
to forcret.*
* In The Life and IFfris nf Ttiomas Beivi'c/!, by D. C.
Thomson ; in T/ie Portfolio, Tlie Art Journal, Tlie Magazine oj
Art, and in Good Words, Bewick's merits as artist and engravei
have been exhaustively discussed.
IVOOD ENGRAVING. 183
We are fast losing sight of first principles and aim-
ing rather at catching the eye and the public purse
with a pretty page ; and in doing this we are but
imitators. In the English magazines it is strange
to find a slavish, almost childish imitation of the
American system of illustration ; adopting, for
instance, the plan of pictures turned over at the
corners or overlapping each other with exaggerated
bkick borders and other devices of the album of the
last generation. This is what we have come to in
England in 1894 (with excellent wood engravers
still), and the kind of art by which we shall be
remembered at the end of the nineteenth century !
I am speaking of magazines like Good Words and
Casseir s Alagazine, where wood engra\ing is still
largely employed.
It may be as well to explain here that the reasons
for employing the medium of wood engraving for
elaborate illustrations which, such as we see in
American magazines, were formerly only engraved
on copper or steel, are — (i) rapidity of production,
and (2) the almost illimitable number of copies that
can be produced from casts from wood blocks.
The broad distinction between the old and new
methods of wood engraving is, that in early days
the lines were drawn clearly un lh(; wood block and
THE ART OF ILLUSTRATION.
the part not drawn cut away by the engraver, who
endeavoured to make a perfect fac-simile of the
artist's hnes. It is now a common custom to
transfer a photograph from life on to the wood
block {see p. 167), also to draw on the wood with a
brush in tint, and even to photograph a water-colour
drawing on to the wood, leaving the engraver to
turn the tints into lines in his own way.
In the very earliest days of book illustration,
before movable type-letters were invented, the
illustration and the letters of the text were all
engraved on the wood together, and thus, of
necessity (as in the old block books produced in
Holland and Belgium in the fifteenth century),
there was character and individuality in every page;
the picture, rough as it often was, harmonising with
the text in an unmistakable manner. From an
artistic point of view, there was a better balance of
parts and more harmony of effect than in the more
elaborate illustrations of the present day. The
illustration was an illustration in the true sense of
the word. It interpreted something to the reader
that words were incapable of doing ; and even when
movable type was first introduced, the simple
character of the engravings harmonised well with
the letters. There is a broad line of demarcation,
WOOD E.\GRAVL\G. i8s
indeed, between these early wood engravings (such,
for instance, as the " Ars Moriendi," purchased
for the British Museum in 1872, from the Weigel
collection at Leipsic, and recently reproduced by
the Holbein Society) and the last development
of the art in the American magazines. The
movement is important, because the Americans,
with an energy and na'ivcti?. peculiar to them, have
set themselves the task of outstripping all nations
in the beauty and quality of magazine illustrations.
That they have succeeded in obtaining delicate
effects, and what painters call colour, through the
medium of wood-engraving, is well known, and it
is common to meet people in England asking,
" Have you seen the last number of Harper s or
the Century Magazine f" The fashion is to admire
them, and English publishers are easily found to
devote time antl capital to distributing American
magazines which come to England free of duty),
to the prejudice of native productions. The reason
for the excellence (which is freely admitted) of
American wood-engraving and printing is that, in
the first place, more capital is employed upon the
work. The American wood-engraver is an artist in
every sense of the word, and his education is not
considered complete without years of foreign study.
( li
No. XXXV.
A Portrait engraved on wood at the Office of the
Century Mag.\zine.
Example of portraiture from the Century Magazine.
It is interesting to note the achievements of the
American engravers at a time when wood engraving
in England is under a cloud.
This portrait was photographed from life and
afterwards worked up by hand and most skilfully
engraved in New York.
XXXV.
(Photo^rafh /rom life, en^mvcd on -.void. From tin Century Afajazliu-.)
lyOOn EAGRA VJNG.
The American engraver is always en rapport with
the artist — an important matter — working often,
as I have seen them at Harper s, the Cetitury
Magazine, and Scribncr s in New York, in the same
studio, side by side. In England the artist, as a
rule, does not have any direct communication with
the wood engraver. In America the publisher,
having a very large circulation for his works, is able
to bring the culture of Europe and the capital of
his own country to the aid of the wood-engraver,
spending sometimes five or six hundred pounds on
the illustrations of a single number of a monthly
magazine. The result is an engraver s success of a
very remarkable kind.
A discussion of the merits of the various styles
of wood engraving, and of the different methods
of drawing on wood, such as that initiated by the
late Frederick Walker, A.R.A. ; the styles of Mr.
William .Small, E. A. Abbey, Alfred Parsons, etc. —
does not come into the scope of this publication,
but it will be useful to refer to one or two
opinions on the American system.
" Book illustration as an art," as Mr. Comyns Carr pointed
out in his lectures at the Society of Arts ten years ago, "is
founded upon wood engraving, and it is to wood engraving that
we must look if we are to have any revival of the kind of beauty
which early-printed books possess. In the mass of work now
I90 THE ART OF ILLUSTRATIOX.
produced, there is very little trace of the principles upon which
Holbein laboured. Instead of proceeding by the simplest
means, our modern artist seems rather by preference to take the
most difficult and complex way of expressing himself A wood
engraving, it is not unjust, to say, has become scarcely dis-
tinguishable from a steel engraving excepting by its inferiority."
Mr. Hubert Herkomer, R.A., who has had a
very wide experience in the graphic arts, says : —
" In modern times a body of engravers has been raised up who
have brought the art of engraving on wood to such a degree
of perfection, that the most modern work, especially that of the
Americans, is done to show tlie skill of the engraver rather than
the art of the draughtsman. This, I do not hesitate to say, is a
sign of decadence. Take up any number of the Century or
Harpers magazines, and you will see that effect is the one aim.
You marvel at the handling of the engraver, and forget the
artist. Correct, or honest, drawing is no longer wanted. This
kind of illustration is most pernicious to the student, and 7vill
not last
" America is a child full of promise in art — a child that is
destined to be a great master ; so let us not imitate its youthful
efforts or errors. Americans were the first to foster this style of
art, and they will be the first to correct it."
Mr. W. J. Linton, the well-known wood engraver,
expresses himself thus strongly on the modern
system, and his words come with great force from
the other side of the Atlantic : —
"Talent is misapplied when it is spent on endeavours to rival
steel-line engraving or etching, in following brush-marks, in
pretending to imitate crayon-work, charcoal, or lithography, and
in striving who shall scratch the greatest number of lines on a
WOOD ENGRAVING.
given space without thought of whether such muhiplicity of lines
adds anything to the expression of the picture or the beauty of
the engraving. How much of talent is here thrown away ! how
much of force that should have helped towards growth is wasted
in this slave's play for a prize not worth having — the fame of
having well done the lowest thing in the engraver's art, and
having for that neglected the study of the highest ! For it is the
lowest and the last thing about which an artist should concern
himself, this excessive fineness and minuteness of work. . .
In engraving, as in other branches of art, the first thing is
drawing, the second driving, the third dra^vingP
This is the protcssional view, ;ibly expressed, of
a matter which has been exercising many minds
of late ; and is worth quoting, if only to show the
folly of imitating a system acknowledged by e.x-
perts to be founded on false principles.
But there is another view of the matter which
should not be lost sight of. Whatever the opinion
of the American system of illustration may be, there
is, on the other side of the Atlantic, an amount of
energy, enterprise, cultivation of hand and eye
delicacy of manipulation, and individual industry,
cleverly organised to provide a wide continent
with a better art than anything yet attempted in
any country. Some fine engravings, which the
Americans have lately been distributing amongst
the people, such, for instance, as the portraits (en-
graved from photograjihs from life) which have
192 THE ART OF ILLUSTRATION.
appeared in Harper s and the Century magazines,
only reach the cultivated few in Europe in expensive
books. It is worth considering what the ultimate
art effect of this widespread distribution will be.
The "prairie flower" holds in her hand a better
magazine, as regards illustrations, than anything
published in England at the same price; and a
taste for delicate and refined illustration is being
fostered amongst a variety of people on the western
continent, learned and unlearned. That there is a
want of sincerity in the movement, that "things
are not exactly what they seem," that something
much better might be done, may be admitted ;
but it will be well for our illustrators and art
providers to remember that the Americans are
advancing upon us with the power of capital and
ever-increasing knowledge and cultivation. In the
Ceniury magazine, ten years ago, there was an
article on "The Pupils of Bewick," with illustrations
admirably reproduced from proofs of early wood
engravings, by "photo-engraving."
This is noteworthy, as showing that the know-
ledge of styles is disseminated everywhere in
America ; and also, how easy it is to reproduce
engravings by "process," and how important to
have a clear copyright laiv on this subject.
woo/) EXGRAVIiW,.
'93
Of the English wood engravers, and of the
present state of the profession in England much
has been written. I behevc the fact remains that
commercial wood engraving is still relied on by
many editors and publishers, as it prints with more
ease and certainty than any of the process blocks.
That there are those in England (like Mr.
Biscombe Gardner and others, whose work I am
unable to reproduce here), that believe in wood
engraving still as a vital art, capable of the highest
results, I am also well aware. But at the moment
of writing it is difticult to get many publishers to
expend capital upon it for ordinary illustrations.
On the ne.xt page is an example of good wood
eneravine.
' DRIVING HOME THE PICS." (jOHN PEDDEK.)
(Acndemy Notes, 1891.)
( 194
No. XXXVl.
Joan of Arc's House at Rouen, liy the late
Samuel Prout.
Engraved on wood by Mr. J- 1^- Cooper, from a
water-colour drawing by Samuel Prout.
The original drawing, made with a reed pen and
flat washes of colour, was photographed on to the
wood block, and the engraver interpreted the various
tints into line. The method is interesting, and the
tones obtained in line show the resources of the
engraver's art, an art rather carelessly set aside in
these days.
This engraving is from Nonnandy Picturesque.
(London : Sampson Low & Co.)
No. X.VW I.
SIGN bV WALTER i
CHAPTER VI.
TIIK DECOKATIVK PAGE.
jo turn ncxl to thu more dccunitive side
of modern illustration, where design
and tile cusciiib/c of a printed page
are more considered, it is pleasant to
be able to draw attention to the work of an art
school, where an educated and intelligent mind
seems to have been the presiding genius ; where
the illustrators, whilst they are fully imbued with
the spirit of the past, have taken pains to adajH
their nielhoLls to mcjdern re(iuirements. I reler lu
the liirmingham Municli)al School ot An.
( 198 )
N.'. XXXVII.
Decorative Page, by A. J. Gaskin.
(From Mans Antk-i sen's Fairy Tales. London : George xVUen.)
This is a good example of the appropriate
decoration of a page without any illustration in the
ordinary sense of the word. The treatment of
ornament harmonises well with old-faced type letter.
The original was drawn in pen and ink, about
/he same size as the reproduction. The ground
is excellent in colour, almost equal to a wood
engraving.
This is another example of the possibilities of
process, rightly handled, and also of effect produced
without reduction of the drawing.
:7inDGRS€riS
s scoRies, 7/,
u
\\^
\f
Tlie Nightingale.
In China, as you know,
the Emperor is a China-
man, and all tliose he has
about him are Chinamen
too. The following story
happened many years ago,
but that is just why it is
worth hearing before it
is forgotten. Tne Em-
peror's castle was the
most beautiful in the
world and was entirely
of fine porcelain ; it was
very costly, but so brittle
and delicate to touch,
that one had to be very
careful. . In the garden
were seen the most won-
derful flowers, to the
No. X.X.WII.
THE ART OF ILLUSTRATli^X.
Whilst using wood engraving freely, the illus-
trators of Birmingham (notably Mr. Gaskin), are
showing what can be clone in line drawing by the
relief processes, to produce colour and ornament
which harmonise well with the letterpress of a book.
This seems an important step in the right direction,
and if the work emanating from this school were
less, apparently, confined to an archaic style, to
heavy (jutline and mediaeval ornament (I speak
from what I see, not knowing the school personally),
there are possibilities for an extended popularity for
those who have worked under its influence.*
The examples of decorative pages by experienced
illustrators like Mr. Walter Crane and others,
will serve to remind us of what some artists are
doing. But the band of illustrators who consider
design is much smaller than it should be, and than
it will be in the near future. A study of the past,
if it be only in the pages of mediceval books, will
greatly aid the student of design. In the Appendix
I have mentioned a few fine examples of decorative
pages, with and without illustrations, which may be
usefully studied at the British Museum. ;
* 1 mention this school as a reiuesentative one ; there are
many others where design and wood engraving are studied under
the same roof with success in 1894.
No. XX.WIII.
WOOD ENGRAVING. 203
In all these pages, it will be observed, what is
called "colour" in black and white is ])reserved
throughout ; showing that a page can be thoroughly
decorative without illustrations to the text. Closely
criticised, some of the old block designs may appear
crude and capable of more skilful treatment, but the
pages, as a rule, show the artistic sense — unmistak-
ably, mysteriously, wonderfully.
In these and similar pages, such, for instance, as
Le Mer des Hisioires, produced in Paris by Pierre
le Rouge in 1488 (also in the British Museum),
the harmony of line ilrawing with the printtxl letters
is interesting and instructive. {Sec Appendix.)
It is in the production of the decorative page that
wood engraving asserts its supremacy still in some
quarters, as may be seen in the beautiful books
produced in England during the past few years by
]\Ir. William INIorris, where artist, wood engraver,
typefounder, papermaker, printer, and bookbinder
work under the guiding spirit (when not the actual
handwork) of the author. They are interesting to
us rather as exotics ; an attempt to reproduce the
exact work of the past under modern conditions,
conditions which render the price within reach only
of a lew, but they are at least a protest against ihc
modern shams with which we are all familiar.
THE ART OF ILLUSTRATION
The nineteenth-century author's love for the
hterature of his past has led him to imitate not
only the style, but the outward aspect of old books ;
and by a series of frauds (to which his publisher
has lent himself only too readily) t(.) produce some-
thing w'hich appears to be what it is not.
The genuine outcome of media;val thought and
style — of patience and leisure — seems to be treated
at the end of the nineteenth century as a fashion
to be imitated in books, such as are to be seen
under glass cases in the British Museum. It is
to be feared that the twentieth-century reader,
looking back, will see few traces worth preserving,
either of originality or of individuality in the work
of the present.
What are the facts ? The typefounder of to-
day takes clown a Venetian writing-master's copy-
book of the fifteenth century, and, imitating
exactly the thick downward strcjkes of the reed
pen, forms a set of movable type, called in
printer's language " old face " ; a style of letter
much in vogue in 1894, but the style and character
of which belongs altogether to the past. Thus,
with such aids, the man of letters of to-day —
living in a whirl of movement and discovery —
clothes himself in the handwritinu' of the Venetian
No. XXXIX.
DESIGN FOR THE TITLE PACE OF THE " HOBBY-HORSE." (sELWVN IMAGE.)
This is a rediictiim /■!■ ftvccss from a large quarto '.vchhI cngravliis )
2o6 THE ART OF ILLUSTRATION.
scholar as deliberately as the Norwegian dons a
bear-skin.
1 he next step is to present in his book a series
of so-called "engravings," which are not engrav-
ings but reproductions by process of old prints.
The "advance of science" in producing photo-
relief blocks from steel and other iii/a'^iio plates
for the type printing press, at a small cost per
square inch, is not only taking from the artistic
value of the modern edition dc luxe, but also
from its interest and genuineness.
The next step is to manufacture rough-edged,
coarse-textured paper, purporting to be carefully
" hand-made." The rough edge, which was a
necessity when every sheet of paper was finished
by hand labour, is now imitated successfully by
machinery, and is handled lovingly by the book-
worm of to-day, regardless of the f^ict that these
roughened sheets can be bought by the pound in
Drury-lane. The worst, and last fraud (I can
call it no less) that can be referred to here is,
that the clothing — the "skin of vellum" — that
appropriately encloses our modern edition dc luxe
is made from pulp, rags, and other dc'bris. That
the gold illuminations on the cover are no longer
real gold, and that the handsomely bound book,
THE DECORATIVE PAGE. 207
with its fair margins, cracks in half with a " bang,"
when first opened, are other matters connected witli
the discoveries of science, and the substitution of
machinery for hand labour, which we owe to
modern enterprise and invention.*
Looking at the "decorative pages" in most books,
and remembering the achievements of the past, one
is inclined to ask — Is the " setting-out of a page " one
of the lost arts, like the designing of a coin ? What
harmony of style do we see in an ordinar)- book ?
How many authors or illustrators of books show
that they care for th(; "look" of a printed page?
The fact is, that the modern author shirks his
responsibilities, following the practice of the greatest
writers of our day. There are so many " facilities"
- — as they are called — for producing books that the
author takes little interest in the matter. Mr.
Ruskin, delicate draughtsman as he is known to be,
has contril)uted little to the cnsciubic or appearance
of the pages that How from the printing press of
Mr. Allen, at Orpington. Mis books are well
print(!d in the modern manner, but judged by ex-
amples of the past, a deadly monotony pervades the
* Mr. Cobden Sanderson's lecture on Bookbinding, read
before the " Arts and Crafts Society," is well worth the attention
of liook lovers.
THE ART OF ILLUSTRATION.
page ; th.e master's noblest thoughts are printed
exactly like his weakest, and are all drawn out
in lines together as in the making of macaroni !
Mr. Hamerton, artist as well as author, is content to
describe the beauty of forest trees, ferns and flowers,
the \-ariety of underwood and the like (nearly every
word, in an article in the Portfolio, referring to
some picturesque form or graceful line), without
indicating the varieties pictorially on the printed
page. The late Lord Tennyson and other poets
have been content for years to sell their song by the
line, little heeding, apparently, in what guise it was
given to the world.
In these days the monotony of uniformity
seems to pervade the pages, alike of great and
small, and a letter from a friend is now often
printed by a machine !
No. XL.
**SCAK[,F.T POl'l'lES." (\V. J. MUCKLEV.)
This bcMutiful piece of pen work by Mr. Muckley (from his picture in the
Royal Academy, 1S85) was too delicate in the finer passages to reproduce well
by any relief process (the pale lines having come out black); but as an
example of breadth, and indication of surfaces in pen and ink, it could hardly
be surpassed.
CHAPTER \II.
AUTITOK, ILLUSTRATOR, AM) IT lU.ISl 1 KR.
•VV us now CDiisiilcr slmrily llu- Author,
the Illustrator, ;uul tlu- Publisher, aiul
their inlluence ou the appearance and
production of a book. If it be im-
possible in these days (and, in spite of the cttorts
of Mr. William Morris and others, it seems to be
impossil)le) to produce a Genuine book in all its
details, it seems worth considerin;^' in what way the
author can stamp it with his own indi\iduality ;
also to what extent he is justified in making use of
modern appliances.
How far, then, may the author be said to be
responsible for the state of things just ([uoted ?
'I'heoreticallv, he is tlu' man of taste and culture
par excellence ; he is, or should be, in most cases,
the arbiter, the dictator to his publisher, the chooser
of styl(!. i hf book Is his, ami it is his business to
THE ART OF ILLUSTRATION.
decide in what form his ideas should become
concrete ; the pubhsher aiding his judgment with
experience, governing the finance, and carrying out
details. How comes it then that, with the present
facilities for reproducing anything that the hand can
put upon paper, the latter-day nineteenth-century
author is so much in the hands of others as to the
appearance of his book ? It is because the so-called
educated man has not been taught to use his
hands as the missal-writers and authors of mediaeval
times taught themselves to use theirs. The modern
author, who is, say, fifty )-ears old, was born in an
age of " advanced civilisation," when the only
method of expression for the young was one —
" pothooks and hangers." The child of ten years
old, whose eye was mentally forming pictures, taking
in unconsciously the facts of perspective and the
like, had a pencil tied with string to his two first
fingers until he had' mastered the ups and downs,
crosses and dashes, of modern handwriting, which
has been accepted by the great, as well as the little,
ones of the earth, as the best medium of com-
munication between intelligent beings ; and so, re-
gardless of style, character, or picturesqueness,
he scribbles away ! So much for our generally
straggling style of penmanship.
Author, illustrator, and publisher. 213
There is no doubt that the author of the future
will have to come more into personal contact with
the artist than he has l)een in the habit of doing,
and that the distinction I referred to in the first
chapter, between illustrations which are to be (i)
records of facts, and (2) works of art, will have to
be more clearly drawn.
Amongst the needs in the community of book
producers is one that I only touch upon because it
affects the illustrator : — That there should be an
expert in every publishing house to determine
(i) whether a drawing is suitable for publication;
and (2) b)- what means it should be reproduced.
The resources of an establishment will not always
admit of such an arrangement ; but the editors and
publishers who are intormed on these matters can
easily be distinguished by the quality of their publi-
cations. By the substitution of process blocks for
wood engravings in books, publishers are deprived
to a great extent of the fostering care of the master
wood engraver, to which they have been accustomed.
Amongst the influences affecting the illustrator,
none, I venture to say, are more prejudicial than
the acceptance by editors and publishers of
inartistic drawings.
It would be difficult, I think, to jtoint to a period
214 THE ART OF I/JJS'JRAnOX.
when so much b;icl work was procluccd as at present.
The causes ha\'e already Ijeea [luinted out, the
beautiful processes for the reproduction of drawings
are scarcely understood b\- the majority ot artists,
publishers, authors, or critics. It is the luismc of
the jM'ocesses in these htirrying da_\s, which is
draq-ging otn' national reputation m the mire .md
perplexing the student.
The modern publisher, it may be said without
ofience, understands the manulacture and the com-
merce of a book better than the art in it. /^ nd
how should it be otherwise '! TIkj best books that
were ever produced, from an artistic point ot \iew,
were inspired and designed by students ot art and
letters, men removed tVom the commercial scramble
of life, and to whcjm an advertisement was a thing-
unknown ! The ordinary art educ.ition ot a pub-
lisher, aiid the multitude of affairs requiring his
atterition, untit him generally, for the task of deciding
whether an illustration is good or l)ad, or how tar —
when he cheapens the production ot his book by
using photographic illustrations ("snap-shots" troin
nature)- he is justified in calling them "art." The
deterioration in the character of book illustration
in England is a serious matter, and public attention
may well be drawn to it.
AUTHOR, ILLUSTRATOR, AND PUBLISHER. 215
Here we look for the active co-operation of
the author. The far-reaching spread of education
— especially technical art education — is tending to
bring together, as they were never brought before
in this century, the author and the illustrator. The
author ot a book will give more attention to the
appearance of his pages, to the decorative character
of type and ornament, whilst the average artist
will be better educated from a literary point of view;
and, to use a French word for which there is no
ci]uivaK:nt, will be more en >-apport with both author
anel |)ublisher.
I'or the illustraiDr by profession there seems no
artistic leisure; no lime to tlo anything properly
in this connection.
" It is a poor career, Blackburn," said a well-
known newspaper illustrator to me lately (an artist
of distinction anil success in his profession who
has practised it for twenty years), "you seldom
give satisfaction — not even to yourself."
" It is an ideal career^ s;iys another, a younger
man, who is content with the more slap-dash
methods in vogue to-da)' — and uiih the income he
receives for them.
Referring again to the question in the .lllioucuni,
" W liy is not drawing for the press taught in our
THE ART OF ILLUSTRATION.
Government schools of art ?" I think the prhicipal
reasons why the art of ilkistration by the processes
is not generally taught in art schools are —
(i) drawing for reproduction requires more per-
sonal teaching than is possible in art classes in
public schools; (2) the art masters throughout
the country, with very few exceptii.Mis, do not
understand the ncio processes — which is not to be
wondered at.
It is not the fault of the masters in our schools
of art that students are taught in most cases as
if they were to become painters, when the only
possible career for the majority is that ot illus-
tration, or design. The masters are, for the most
part, well and worthily occupied in giving a good
groundwork of knowledge to every student, as
to drawing for the press. There is no ques-
tion that the best jireparation for this work is
the best Qeucral art teaching that can be obtained.
The student must have drawn from the anticpie and
from life ; he must have learned com[)osition and
design; have studied from nature the relati\-e values
of light and shade, aerial perspective and the like ;
in short, have followed the routine study lor a
painter whose first aim should be to be a master
of monochrome.
AUTHOR, ILLUSTRATOR, AND PUBLISHER. 217
In the more technical parts, which the young
illustrator b}- process will require to know, he
needs personal help. He will have a multitude of
questions to ask "somebody" as to the reasons for
what he is doing ; for xoliat style of process ivork
he is by touch and toiipcraniciil best fitted, and so
on. All this has to be considered if we are to keep
a good standard of art teaching for illustration.
The fact that a pen-and-ink drawing ivhich looks
well scarcely ever reproduces well, must always be
remembered. Many drawings for process, com
mended in art schools for good draughtsmanship
or design, will not reproduce as expected, for want of
exact knowledge of the requirements of process ;
whereas a drawing by a trained hand will often
look belter in the reproduction. These remarks refer
especially to ornament and design, to architectural
drawings and the like.
The topical illustrator aiul sketcher in weekly-
prints has, of course, more licence, and ii matters
less what becomes of his lines in their rapid transit
through the press. Still the illustrator, of whatever
rank or style, has a right to complain if his tlrawini'-
is reproduced on a scale not intended by him, or by
a process for which it is not fitted, or if printed
badly, and with bad materials.
THE ART OF ILLUSTRATION.
But the sketchy style of illustration seems to be
a little overdone at present, and — being tolerable
only when allied to great ability — remains con-
sequently in the hands of a few. There is plenty
of talent in this country which is wasted for want of
control. It plavs about us like summer lightning
when we want the precision and accuracy of the
telegraph.
The art of colour printing (whether it be by the
intaglio processes, or by chromo-lithogra[)ln-, or on
relief blocks) has arrived at such proficiency and
has become such an important industry that it
should be mentioned here. By its means, a
beautiful child-iace, 1)\- Millais, is scattered over
the w<!rld by hundreds of thousands; and the
reputation of a young artist, like Kate Greenaway,
made and established. The latter owes much ot
her prestige and success to the colour- printer.
Admitting the grace, taste, and invention of Kate
Greenaway as an illustrator, there is little doubt that,
without the wood engraver and the e.xample and
sympathetic aid of such artists as II. S. Marks, R..\.,
Walter Crane, and the late Randolph Caldecott,
she would never have received the praise bestowed
upon her by M. Ernest Chesneau, or Mr. Ruskin.
These things show how intimately the arts of
AUTHOR. Ill.L'SIRATOR. AXD PLJIIJS.'/ICR. 219
rL-procUiction aftect reputations, and how important
it is that more sympathy and communicalion should
exist between all procUicers. In the mass of
ilUistrated pubh'cations issuing from the press the
exp.rt can discern clearly where this sympathy and
knowledge exist, and where ability, on the part of
the artist, has been allied to practical knowledge
of the requirements of illustration.
The l)usiness of man\- will be to contribute, in
some iorm. to the making of pictures and designs
to be multiplied in the press ; and, in order to learn
the technique and obtain employment, some of thct
most promising pupils have to fall into the ways of
the producers of cheap illustratinns, Christmas cards,
and the like. On the other h:uul. a knowledge of
the mechanical processes for reproducing drawings
(as it is being pressed forward in technical schools)
is leading to disastrous conseciuences, as may be seen
on every railway Ijookstall in the kingdom.
In the "book of the fiuure " \\v hope to see
less of the "lath and plaster'' style of illustration,
produced Ironi careless wash drawings by the cheap
processes ; fewer of the blots upon the i)age, which
the modern reader seems to take as a mailer of
course. In books, as in [leriodicals, the illustrator by
process will have to divest himself, as far as possible.
220 THE ART OF ILLVSTTATION.
of that tendency to scratchiness and exaggeration
that injures so many process ilkistrations. In short,
he must be more careful, and give more thought
to the meaning of his hues and washes, and to the
adequate expression of textures.
There is a great deal yet to learn, for neither
artists nor writers have mastered the subject. Few
of our best illustrators have the time or the in-
clination to take to the new methods, and, as regards
criticism, it is hardly to be expected that a reviewer
who has a pile of illustrated books to pronounce
upon, should know the reason of the failures that
he sees before him. Thus the public is olten
misled by those who should be its guides as to
the value and importance of the new systems of
illustration.*
In conclusion, let us remember that everyone
who cultivates a taste for artistic beauty in books,
be he author, artist, or artificer, may do something
towards relieving the monotony and confusion
in style, which pervades the outward aspect of so
• There seems but one rule of criticism in this connection. If
a book illustration comes out coarsely and (as is often the case)
a mere smudge, the process is blamed, when the drawing or
photograph may have been quite unsuitable for the process
employed.
AUTHOR, ILLUSTRATOR, AND PUBLISHER. 221
many books. It is a far cry from the work of the
missal writer in a monastery to the pages of a
modern book, but the taste and feehng whicli was
shown in tlic fifteenth and sixteenth centuries in
the prothiction of books, exists in the nineteenth,
imder difhcuk concHtions.
In the "book of the future" the author will
help personally, more than he has ever done, as I
have already suggested. The subject is not half-
ventilated yet, nor can I touch upon it further, but
the day is not far distant when the power of the
hand of the author will be tested to the utmost,
and lines of all kinds will a])pear in the text.
There is really no limit to what may be done with
modern appliances, if only the idea is seized with
intelligence.
Two questions, however, remain unanswered —
(i) Whether, as a matter of language and history,
we are communicating information to each other
much better than the ancients did in cuneiform
inscriptions, on stones and monuments. (2)
Whether, as a matter of illustrative art, we are
making the best use of modern appliances.
Let us, then, cultivate more systematically the
art of drawing for the press, and treat it as a
worthy profession. Let it not be said again.
THE ART OF ILLUSTRATION.
as it was to nic lately by one who has devoted
halt a lifetime to these things, " The processes
of rej)r()diiction are to hand, but where are our
artists?" Let it not be said that the chariot-
wheels of the press move too fast for us
— that chemistry and the sun's rays have been
ntilised too soon — that, in short, the processes of
reproduction have been perfected before their
time ! I think not, and that an art — the art of
pictorial expression — which has existed for ages
and is mw best understood by the Jap;incsc, may
be cultivated amongst us to a more practical end.
AKK CASE." (U- 11. IJAIKU.)
[^Royal Acctdcnty, 1S91.)
*^\ 6 ^ A fty*
or TBK
UNIVERSITY
:^3 )
studi:nts' dr.\\vixc;s.
The folknving fcv.ir examples of ilrawing' from life, by
siudents at \'ictoria Street, fresh from art schools, arc
intcrcstiiit^ as tentative work. The object has been to
test their powers aiul adaptability for line i^'oik ; a\-oitiiii_<^
outline in the experiment as much as possible.
Nos. I, 3, and 4, it will be obser\-ed, evade back-
grounds altogether — the too read}' solution of a difficult
problem in line.
Tliese drawings were made direct from life, in line ;
a .sj'stem not to be recommended, excepting as an ex-
periment of powers.
ICxamplcs of students' wash drawings, S:c., will appear
in future editions of this book.
224 )
No. XLI.
" Spam's/! JJ'diiiaii." A Stud}^ from Life.
]!y Ina Bidder.
This is a clever sketch with pen and ink and Inrush,
and drawn with a bold free hand, reproduced on
an (untouched) process block. It shows originality
of treatment and courage on the part of the student ;
also the value of great reduction to give strength and
effect.
(Size of drawing, 16 x 11.', in.)
No. Xl.l.
( 226 )
No. XLII.
'^ Sketch from Life,'' by Estelle d'Avigdcr.
This student was the winner in a prize competition
lately in T/ie Stiuiio. She has undoubted ability,
but not clearly in the direction of line drawing.
After considerable success in painting, this student
writes: "I still find the pen a difiicult instrument to
wield."
In this sketch we see the influence of Aubrey
Beardsley and others of the dense-black, reckless
school of modern illustrators.
(Size of drawing, lo x 6-^ in.) Zinc process.
E.fAvicE^i^^
No. XI. n.
( 228 )
No. XLIII.
Sketch from Life, by G. C. Marks.
This pen-and-ink drawing is interesting for colour,
especially in the hair ; it would have been better
modelled if drawn first in pencil or chalk.
This student has an obvious aptitude for line
work ; the touch is very good for a beginner.
(Size of drawing, \o\ x S in.) Zinc process.
Nu. XI. III.
( 230 )
No. XLIV.
Bough of Coiiuiwii Furze, by William Frenxh.
A most careful study from nature in pen and ink.
(Size of original drawing, 14 x 1 1 J, in.) Reproduced
by zinc process.
This artist learned the method of line work for
process in a month.
•ME
-*L
tj ,,,M
^"4,, '
im I ''1
£0n-)k.
^/^ 'f Hlf ^//
.No. XLIV
( 232 )
CANTOR LFXTTRES.
The Illustrations in this Volume are, for the most
liart, reproductions of drawings which — for purposes
of study and comparison — are shown by Mr.
Blackburn at his Lectures in Art Schools, enlarged
to a scale of 15 to 20 ft.
Students who may be unable to attend these
lectures can see some of the original drawings on
application (by letter) to '" The Secretary, at Mr.
Henry Blackburn's Studio, 123, Victoria Street,
AVestmin^ter.'
APPENDIX.
I. P110TO-7.INC Process.— 2. Gelatine Process.— 3. Half-tone.—
4. Intaglio Processes.— 5. Drawing Materials.— 6. Books for
Students.— 7. Decorative Pages.— S. List of Photo-engravers.
PHOTO-ZINC PROCESS.
for the reproduction of line drawings in relief, suitable for
printing at the type press.
Description of the Process. — The first stage is to have the
drawing photographed to the size required, and to transfer a print
of it on to a sensitized zinc plate. This print, or photographic
image of the drawing lying upon the zinc plate, is of greasy sub-
stance (bichromate of potash and gelatine), and is afterwards
inked up with a roller ; the plate is then immersed in a bath of
nitric acid and ether, which cuts away the parts which were left
white upon the paper, and leaves the lines of the drawing in
relief. This " biting in," as it is called, requires considerable
experience and attention, according to the nature of the drawing.
Thus, the lines are turned into metal in a few hours, and the
plate, when mounted on wood to the height of type-letters, is
ready to be printed from, if necessary, at the rate of several
thousands an hour.
The cost of these blocks averages 6d. the square inch where
a number are made at one time, the minimum price being 5 '-.
Small book illustrations by this process, by firms who make
a specialty of producing single illustrations, are often charged 9d.
the square inch, with a minimum of 7/6 ; but the cost should
never be more than this for a single block by the zinc process.
( 234 )
GELATINE PROCESS.
FOR THE RF.rRODUCTlON OF DRAWINGS IN LINE IN RELIEF, SUITARLE
FOR I'RINTINi; AT 1 HE TYPE I'RESS.
This is a more delicate and sensitive method of obtaining a
reh'ef block. It is called the " gelatine," or " Gillot " process.
The drawing is photographed to the required size (as before),
and the negative laid upon a glass plate (previously coated with a
mi.xture of gelatine and bichromate of potash). The part of this
thin, sensitive film not exposed to the light is absorbent, and
when immersed in water swells up. The part exposed to the
light, i.e., the lines of the drawing, remains near the surface of
the glass. Thus we have a sunk mould from which a metal
cast can be taken, leaving the lines in relief as in the /inc process.
In skilful hands this process admits of more delicate gradations,
and pale, uncertain lines can be reproduced with tolerable fidelity.
There is no process yet invented which gives better results from a
pen-and-ink drawing for the type press.
Reproductions of jiencil, chalk, and charcoal are also possible
by this process; but they are not suited far it, and there is
generally too much working up by hand on the block to suit
rapid printing. These blocks when completed have a copper
surface. The blocks take longer to make, and are about double
the price of the photo-zinc process. The cost varies from gd. to
i/6 the square inch.
M. Gillot, in Paris, may be said to be the inventor or perfector
of this process, now used by many photo engravers in London,
notably by Mr. Alfred Dawson, of Hogarth Works, Chiswick.
( 235 )
HALF-TONE PROCESS.
KOR THE REPRODICTION OF WASH DRAWINGS, PHOTOGRAPHS, ETC.,
IIY THE SCREENED PHOTO-ZINC RELIEF PROCESS.
This method of making the blocks is more complioited.
As there are no lines in a wash drawing, or in a photograph
from nature, or in a painting, it is necessary to obtain some kind
of grain, or interstices of white, on the zinc plate, as in a
mezzotint ; so between the drawing or photograph to be re-
produced and the camera, glass screens covered with lines or
dots, are interposed, varying in strength according to the light
and shade required ; thus turning the image of the wash drawing
or photograph practically into " line,' with sufficient interstices of
white for printing purposes.
The coarseness or fineness of grain on these blocks varies
according to circumstances. Thus, for ra[)id printing on cylinder
machines, with inferior paper and ink, a wider grain and a deeper
cut block is necessary.
The examples in this book may be said to show these process
blocks at their best, with good average printing. The results
from wash drawings, as already pointed out, are uncertain, and
generally gloomy and mechanical -looking.
The reproductions of pencil, chalk, or charcoal drawings by
this process are generally unsatisfactory, even when printed under
good conditions. The blocks are shallow as com[)ared with the
zinc line process, and are double the cost.
( 236 )
INTAGLIO PROCESSES.
I'lIOTOCKAVURE, AUTOTVI'E, DALLASTYPK, ETC.
Photogravure. — First, a photographic negative is taken direct
from the picture to be reproduced, and from this an autotype car-
bon print is taken and transferred on to glass or silvered copper,
instead of on the paper used in making carbon prints for sale.
This picture is in delicate relief, and forms the mould, upon
which copper is electrically deposited. After being made " con-
ductive," the carbon mould is placed in a galvanic bath, the
deposit of copper upon it taking the impression perfectly.
Another method is to transfer the same mould upon pure,
clean copper, and then operate with a powerful biting solution,
which is resisted more or less according to the varying thickness
of carbon mould to be penetrated. Thus the parts to be left
smoothest are thick of carbon, and the parts to be dark are bare,
so that the mordant may act unresisted. This, it will be per-
ceived, is the opposite way to the process above given, and is there-
fore worked from a " transparency," or photographic " positive,"
instead of a negative. This is the Klick and Fox Talbot method,
and is very commonly in use at i)resent.
The process of " photogravure " is well known, as employed by
Messrs. Boussod, Valadon, & Co. (Goupil), of Paris, and is
adapted for the reproduction of wash drawings, paintings, also
drawings where the lines are pale and uncertain, pencil, chalk,
etc. ; the greys and gradations of pencil being wonderfully inter-
preted. In London the intaglio processes are used by many of
the firms mentioned on page 240. They are now much used for
the reproduction of photographic portraits in books, taking place
of the copperplate engraving.
The co.st of these plates is, roughly, 5/- the square inch. The
makers of these plates generally supply paper, and print, charging
by the 100 copies. But engravings thus produced are compara-
tively little used in modern book illustration, as they cannot be
printed simultaneously with the letter-press of a book ; they are
suitable only for limited editions and " editions dc luxe."
( 237
DRAWING MATERIALS FOR REPRODUCTION.
I. — For Drawings in Line. — For general use, liquid Indian
ink and Bristol board ; or hard paper of similar surface.
" Clay board," the surface of which can easily be removed
with a scraper, is useful for some purposes, but the pen
touch on clay board is apt to become mechanical.
2. — For Drawings in Pencil and Chalk, grained papers arc
used (see p. 113 and following). These papers arc made
of various textures, with black or white lines and dots
vertical, horizontal, and diagonal. As a matter of fact,
grained papers are little used in book and newspaper
illustration in this country, and unless artistically treated
the results are very unsatisfactory. They are most
suitable for landscape work and sketches of effect.
3. — For Wash Drawings. — Prepared boards for wash drawings,
varying in surface and texture according to the scale of
the drawing, the brush handling of the artist, and the
nature of the work to be reproduced. These must be
decided by the teacher. Lamp black and opaque white
are commonly used. A combination of line and wash is
generally to be avoided.
The materials for drawing for reproduction are to be obtained
from the following amongst other artists' colourmen.
A. AcKERMAN, 191, Regent Street, \V.
J. Barnarh & So.N, 19, Berners Street, W.
CORNELISSEN & SoN, 22, Great Queen Street, W.C.
Lecubrtier, Barhe, & Co., 60, Kegent Street, W.
Jas. Newman, 24, Soho Square, W.
Reeves & Sons, 113, Cheapside, E.C.
Chas. Roberson & Co., 99, Long Acre, W.C.
Geo. Kow.ney & Co., 64, 0.\ford Street, W.
WiNSOR & Newton, 37, Rathbone I'lace, W.
I'liRCY YoUNC, 137, Clutter Street, W.C.
( 238 )
BOOKS FOR STUDENTS.
The following will be found useful : —
I.—" The Graphic Arts,'" by P. G. Hamerton (London : Mac-
millan & Co.).
2.—"' Pen aiid Pencil Artists'' by Joseph Pennell (London:
Macmillan & Co.).
3. — '' English Pen Artists of To- Day" hy J. G. Harper (London :
Rivington, Percival & Co.).
The value and comprehensive character of Mr. Hamerton's
book is well known, but it reaches into branches of the art of
illustration far beyond the scope of this book. Of the second it
may be said that Mr. Joseph Pennell's book is most valuable to
students of " black and white," with the caution that many of the
illustrations in it were not drawn for reproduction, and would
not reproduce well by the processes we have been considering.
The third volume seems more practical for elementary and
technical teaching. It is to be regretted that these books are so
costly as to be out of the reach of most of us ; but they can be
seen in the library of the South Kensington Museum.
Mr. Hamerton's " Drawing and Engraving, a Brief Exposition
of Technical Principles and Practice " (London : Adam and
Charles Black, 1892), "The Photographic Reproduction of
Drawings," by Col. J. Waterhouse (Kegan, Paul, & Co., 1890),
"Lessons in Art," by Hume Nisbet (Chatto & Windus, 1891),
are portable and useful books, full of technical information. Sir
Henry Trueman Wood's " Modern Methods of Illustrating
Books," and Mr. H. R. Robertson's "Pen and Ink Drawing"
(Winsor & Newton) are both excellent little manuals, but their
dates are 1SS6.
( 239 )
DECORATIVE PACES.
(KROM OLD MSS. AND ROOKS TO UK SKKN IN THE liRITISH MUSF.l'M.)
Reprintld from the Cantor Lrctiircs.)
1. " Example of early Venetian writing, from a copybook of the
15th century, written with a reed pen. Note the clearness and
picturesqueness of the page ; also the similarity to the type letters
used to-day — what are called ' old face,' and of much (good and
bad) letter in modern books."
2. "A beautiful example of Gothic writing and ornament, from
a French illuminated manuscript in the British Museum ; date
1480. Here the decorative character and general balance of the
page is delightful to modern eyes."
3. " Facsimile of a printed page, from Polydorc Vergil's
"History of England," produced in Basle, in 1556. The style
of type is again familiar to us in books published in 1894; but
the setting out of the page, the treatment of ornament (with
little figures introduced, but subservient to the general effect), is
not familiar, because it is seldom that we see a modern decora-
tive page. The printer of the past had a sense of beauty, and
of the fitness of things apparently denied to all but a few to-day.'
4. "An illuminated printed page, 1521, with engraved borders,
after designs by Holbein ; figures again subordinate to the
general effect."
5. "Examples of Italian, 14th century ; ornament, initial, and
letters forming a brilliant and harmonious combination."
Illustrations of the above and other decorative pages (which
could not be reproduced in this book) arc shown at the lectures
on a large scale.
Of the many modern books on decoration and ornament, the
handbooks by Mr. Lewis Foreman Day (London : Batsford) are
recommended to students of " the decorative page " ; also
" English Book PlaU's," l)y Egerton Castle (G. Dell & Son.s).
( 240
LIST OF PROCESS BLOCK MAKERS.
From a long list of photo-engravers, the following arc mentioned
from personal knowledge of their work : —
Relief Blocks.
Andr6 & Sleigh, Bushey, Herts.
The Art Reproduction Company, Clairville Grove, South Kensington.
Mr. Dallas, 5, Furnival Street, E.C.
A. & C. Dawson, Hogarth Works, Chiswick.
Dellagana & Co., Gayton Road, Ilampstead, N.W.
Direct Photographic Company, 38, Farringdon Street, E.C.
Hare & Sons, Ltd., Bride Court, Fleet Street.
Carl Hentschel, 182, Fleet Street, E.C.
Chas. Geard (Agent for Krakow), MacLean's BIdgs., New St. Sq., E.C.
Meisenbach Co., Ltd., Wolfington Road, West Norwood, S.E.
John Swain & Son, 58, Farringdon Street, E.C.
Swan Electric Light Co., 114, Charing Cross Ro.id, W.C.
Typographic Etching Co., 3, Ludgate Circus Buildings, E.C.
Walker & Boutall, Clifford's Inn, Fleet Street, E.C.
Waterlow & Sons, Ltd., London Wall, E.C.
\'incent & Hahn, 34, Barbican, E.C.
Int.\glio.
Several of the firms inentioned above are makers of " Intaglio "
plates ; some are also wood-engravers, photo-lithographers, etc. ;
and agents for French, German, and Austrian photo-engravers.
Amongst leading firms who make " Intaglio " plates are Messrs.
Boussod, Valadon, & Co. (London and Paris) ; and Messrs.
Angerer & Goschl, of Vienna.
The Autotype Company's admirable rejjroductions of photo-
graphs and drawings should also be mentioned in this connection.
UNIVERSITY
"BlacU anb Mbitc."
NOTICE.— MR. HENRY BLACKBURN'S STUDIO is
open five days a week for the Study and Practice of DRAWING
FOR THE PRESS with Technical Assistants. Students join
at any time.
Private Inst riirt Ion and bi/ Corresptnitfoice.
i;^ \'icTORiA Street, Westminster (miu .-irmj' Cr= A''av}' Sion-s).
OPINIONS OF THE PRESS
On tlie First Edition.
" ' The Art of Illustration ' is a brightly written account, by a
man who has had large experience of the ways in which books
and newspapers are illustrated nowadays. . . . As a collec-
tion of typical illustrations by artists of the day, Mr. Blackburn's
book is very attractive." — The Times.
" Mr. Blackburn explains the processes — line, half-tone, and
so forth — exemplifying each by the drawings of artists more
or less skilled in the modern work of illustration. They are
well chosen as a whole, to show the possibilities of process
work in trained hands." — Saturday Review.
" We thoroughly commend this book to all whom it may
concern." — Athemetim.
" Mr. Henry Blackburn, perhaps our greatest expert on the
subject of the book illustrator's art, has written a most
interesting volume, which no young black-and-white artist can
very well afford to do without. Nearly a hundred splendid and
instructive illustrations." — Black and White.
" The author's purpose in this book is to show how drawing
for the press may be best adapted to its purpose. . . . Many
of Mr. Blackburn's instructions are technical, but all are beautifully
illustrated by choice reproductions from some of the best black-
and-white work of the time." — -Daily News.
" Mr. Blackburn's interesting and practical manual is designed,
in the first instance, for the guidance of students who intend
to become illustrators in black-and-white, but for the general
reader it contains a large quantity of readable and attractive
matter." — Tin Literary World.
" We must express our admiration for the contents of ' 'l"he
Art of Illustration,' and its fund of technical information." —
Bookseller.
"The book is full of interest, containing close upon a
hundred varied examples of illustrations of the day. A work
of unquestionable value." — Publishers' Circular.
" Mr. Blackburn knows from experience what is best for the
processes ; his volume is illustrated with nearly one hundred
viii , OPINIONS OF THE PRESS.
drawings, most of them good examples of what is being done.
'The Art of Illustration' is an entirely safe guide." — Art/oumal.
"Mr. Henry Blackburn has written an able book on 'The
Art of Illustration,' which, it is not overpraise to say, should be
in the hands of every artist who draws for reproduction." — T/n-
Goitlewcinan.
" ' The .'\rt of Illustration ' is perhaps the most satisfactory
work of art of its kin<i that has yet been published." — Sunday
Times.
"A very clear e.xposition of the various methods of reproduc-
tion."— Guardian.
" i\Ir. Blackburn sails his book under the flag of Sir John
Gilbert, and justly exjrounds the all-importance of line." —
National Observtr.
"'The Art of Illustration' contains a vast amount ot
valuable artistic information, and should be on every student's
bookshelf." — Court Cinuiar.
"Mr. Henry Blackburn is a well-known authority on the
technical aspects of painting and design, and this circumstance
lends value to his exposition of ' The Art of Illustration.' . . .
He writes with admirable clearness and force." — Leeds Mercury.
"The excellent series of reproductions in this book show
(inter alia) the variety of effects to be obtained by the common
zinc process. Mr. Blackburn's book will prove of great value to
the student and interest to the general reader." — Manciiester
Guardian.
" This volume is full ot good criticism, and takes a survey
of the many processes by which books may be beautified. . . .
A charming and instructive volume." — Birmingham Gazette.
" ' The Art of Illustration ' will have the deepest interest for
artists and others concerned in the illustration of books." —
Yorkshire Post.
"A very interesting quarto, worth having for its typical
illustrations." — British Architect.
" Mr. Blackburn's volume should be very welcome to artists,
editors, and publishers." — The Artist.
".•\ most useful book." — Studio,
"UNIVERSITY
u
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